Chapter 3: A Journey through Indian Architecture
(Exploring Society: India and Beyond | Grade 8 Part 2)
Which Harappan city made extensive use of stone because it was locally available?
a) Mohenjo-daro
b) Dholavira
c) Shringaverpur
d) Rani ki Vav
The main stupa at Sanchi was originally commissioned by:
a) Kharavela
b) Ashoka
c) Rajaraja Chola I
d) Shah Jahan
In rock-cut architecture, the practice of walking clockwise around a stupa is called:
a) Pradakshina
b) Circumambulation
c) Both a and b
d) Neither a nor b
Assertion (A): The Brihadiswara Temple at Thanjavur has a huge vimana over 60 metres high.
Reason (R): It was built by Rajaraja Chola I around 1010 CE.
a) Both A and R are true and R is the correct explanation of A.
b) Both A and R are true but R is not the correct explanation of A.
c) A is true but R is false.
d) A is false but R is true.
The Rani ki Vav is an outstanding example of:
a) Rock-cut caves
b) Stepwell architecture
c) Stupa architecture
d) Indo-Saracenic architecture
Assertion (A): The Jama Masjid of Ahmedabad shows a blend of Hindu and Islamic architectural elements.
Reason (R): It was constructed with the help of local Hindu and Jain artisans.
a) Both A and R are true and R is the correct explanation of A.
b) Both A and R are true but R is not the correct explanation of A.
c) A is true but R is false.
d) A is false but R is true.
The charbagh garden layout seen in the Taj Mahal is of:
a) Indian origin
b) Persian inspiration
c) European origin
d) Chinese origin
Which structure is an example of Indo-Saracenic architecture?
a) Dilwara Temples
b) Mysuru Palace
c) Sanchi Stupa
d) Dholavira
The central courtyard design in traditional houses is found in:
a) Shekhawati havelis only
b) Chettinad houses only
c) Both Shekhawati havelis and Chettinad houses
d) Neither
The six-pointed star on Humayun’s Tomb is also known in Islamic tradition as:
a) Star of David
b) Seal of Solomon
c) Lotus motif
d) Jali pattern
“Architecture—the art and techniques of design and construction, which combine functional and aesthetic aspects—is not only an art but also a highly technical field, in which India has excelled for several millennia. As with any other Indian art, these accomplishments have evolved in time and developed great geographical diversity.”
1.1 What does the passage describe as the dual nature of architecture? (1)
1.2 Name any two periods or structures mentioned in the chapter that show geographical diversity. (1)
1.3 How does the chapter illustrate that Indian architecture evolved over time? (1)
1.4 Why is it not possible to study all aspects of Indian architecture in one chapter according to the text? (1)
(Refer to Fig. 3.2 – Timeline of structures)
The timeline shows monuments ranging from Dholavira (2600 BCE) to the Mysuru Palace (20th century), including Sanchi Stupa, Ellora caves, Brihadiswara Temple, Rani ki Vav, Taj Mahal and others.
2.1 Which monument on the timeline belongs to the Harappan period? (1)
2.2 Name one structure from the timeline that belongs to the 11th century CE. (1)
2.3 What does the wide span of the timeline indicate about Indian architecture? (1)
2.4 Identify any two religious traditions represented in the monuments shown on the timeline. (1)
Section B (2 marks each – any two relevant points, 1 mark each)
1. Pradakshina means walking clockwise around a sacred object (stupa/garbhagriha). It is a form of circumambulation.
2. Trapezoid-shaped bricks that locked together; wells built in alluvial soil with inward pressure resistance.
3. Gopuram/torana, mandapa(s), garbhagriha, shikhara/vimana, prakara.
4. Provided privacy, ventilation, space for rituals/gatherings, protection from sun/rain.
5. Shikhara (north), Vimana (south).
6. Harvested/stored water; offered cool social spaces for people to gather and exchange news.
Section C (3 marks each – any three points, 1 mark each)
1. Used stone instead of brick; had fortified ‘Castle’ area with polished pillar segments; large reservoirs; precise urban planning visible in plan.
2. Sanchi: brick/stone stupa with toranas and railings, symbolic Buddha representations. Ellora: rock-cut monolithic Kailasha temple and caves, massive Buddha statue, imitation of timber beams.
3. Depleted water sources, lack of maintenance, pollution and waste dumping.
4. Yellow sandstone with Hindu-Islamic blend; elegant arches, jalis, pillars in temple style without decoration; built with local artisans’ help.
5. Vertically: shikhara/vimana = head, platform = feet. Horizontally: layout mirrors journey from outer to inner world (garbhagriha).
Section D (5 marks each – any five relevant points with explanation, 1 mark each)
1. Royal patronage increased after Gupta period; shilpashastra treatises; need for larger ritual spaces; multiple shrines and enclosures added; led to centres of learning, art, economy and bhakti.
2. Monsoon climate necessitated reservoirs, stepwells, pushkarinis; Harappan wells and Dholavira tanks; Shringaverpur reservoirs; Rani ki Vav; reflected local geology and supported rituals/social life.
3. Domes, arches, jalis, minarets, calligraphy; fusion with local jharokhas, chhatris; use of Hindu/Jain artisans; examples of Ahmedabad and Delhi Jama Masjids.
1.1 Functional and aesthetic aspects (art + technical field).
1.2 Any two: Dholavira, Sanchi, Ellora, Rani ki Vav, etc.
1.3 Evolution shown through timeline from Harappan to 20th century; regional styles (north/south temples, Indo-Islamic).
1.4 Enormous diversity of forms, techniques and geography cannot be covered briefly.
2.1 Dholavira.
2.2 Brihadiswara Temple (1010 CE) or Lingaraja Temple.
2.3 Shows continuous development and great chronological/geographical range.
2.4 Buddhism (Sanchi), Jainism (Dilwara), Hinduism (Brihadiswara), Islam (Taj Mahal), Sikhism (Golden Temple).
All questions are answerable from the NCERT chapter text. Reviewed by GFIS faculty.