Which of the following is the oldest dynasty?a)Chalukyasb)Cholasc)Pallavasd)SatavahanasCorrect answer is option 'D'. Can you explain this answer?

EduRev

All Courses

Explore Courses UPSC Exam UPSC Test Series Free Notes EduRev Infinity

Open App

CLAT Exam > CLAT Questions > Which of the following is the oldest dynasty?...

Join the Discussion on the App

Which of the following is the oldest dynasty?

a)
Chalukyas
b)
Cholas
c)
Pallavas
d)
Satavahanas

Correct answer is option 'D'. Can you explain this answer?

FREE This question is part of

Static GK Test: August 29, 2022

Attempt Test

Attempt this Test

Most Upvoted Answer

Which of the following is the oldest dynasty?a)Chalukyasb)Cholasc)Pall...

The Satvahanas is the oldest dynasties among the given dynasties. It is believed that it started in 235 BC and ended in the 2^nd century A.D. The Chola, Chalukya and the Pallava dynasties started in 9^th, 6^th and 4^th cneturies CE.

Answered by Glance Learning Institute · View profile

Attention CLAT Students!

To make sure you are not studying endlessly, EduRev has designed CLAT study material, with Structured Courses, Videos, & Test Series. Plus get personalized analysis, doubt solving and improvement plans to achieve a great score in CLAT.

Legal Reasoning for CLAT

Lucent for GK

Current Affairs: Daily, Weekly & Monthly

CLAT Mock Test Series 2025

View all answers Start learning for free

< Previous Question Next Question >

Explore Courses for CLAT exam

Similar CLAT Doubts

Directions: Read the passage and answer the question that follows.Gandaberunda , the mythical two-headed bird, often seen as one of Lord Vishnu’s many incarnations in Hindu mythology, lies on a circular board of thick brown paper intricately etched out using a black pen. At first glance, a satisfying network of patterns is all one sees. But the motif also opens doors to history; especially that of the temple structures seen in Tamil Nadu. The gandaberunda is one of the many creatures that feature in artist and architect Mathew Samuel’s Divine Fauna, a 12-part series of sketches inspired from temple reliefs, manifested as motifs on circular boards. While taking up a temple project, Samuel came to know more about Tamil mythology and Dravidian style of architecture and observed that throughout history, there have been “additions and subtractions” and various versions of the same elements. For example, the peacock is represented in a certain way in the Chola dynasty, and more vibrantly by the Nayakas. And, it has been in constant change. His first heritage conservation project was of a temple in Udayarpalayam, a small village in Jayankondam taluk, near Gangaikondacholapuram. It dates back to the Cholas but a lot of the following dynasties did their additions to it. Another structure that inspired him lies in Mamallapuram, a cave called Mahishasura Mardini cave, which had representations that were out of the world. The horizontal bands of etchings displaying circular elements that run along temple structures, helped him pin down a circular format to portray the motifs in. The first work was on a bird that is not visually represented much anywhere — andril paravai. It has been mentioned in a lot of Tamil literature; in fact even contemporary Tamil movie songs mention the bird. Andril paravai is spotted in pairs, and if one dies, the other dies too. These birds appear, albeit subtly, in many temple structures. There are very few temple paintings, especially in the pre-Pallava era, that show the andril paravai. In the caves of Chittinavasal, in Pudukkottai, the motif can be seen on ceilings. In a few temples, it can be seen as ornamentation around the deity or a sculptural element. Matthew wanted to give this motif a form. After andril paravai, he moved on to parrots, peacocks and animals like the lion. Then, he started getting suggestions from others, of mythical creatures that he did not know of, like the gandaberunda, which was actually the royal insignia of the Mysore royal family. Also, the Maratha kings of Tanjore have represented gandaberunda in a different format. In Mysore royalty, it is more of a symmetrical one and in the Tanjore way of doing it, the form is not so much. This facet of history, which offers multiple narratives (spanning time periods), of the same idea is what feeds everyone’s interests.Q. After portraying the andril paravai motif, what did Matthew do?

View answer

Directions: Read the passage and answer the question that follows.Gandaberunda , the mythical two-headed bird, often seen as one of Lord Vishnu’s many incarnations in Hindu mythology, lies on a circular board of thick brown paper intricately etched out using a black pen. At first glance, a satisfying network of patterns is all one sees. But the motif also opens doors to history; especially that of the temple structures seen in Tamil Nadu. The gandaberunda is one of the many creatures that feature in artist and architect Mathew Samuel’s Divine Fauna, a 12-part series of sketches inspired from temple reliefs, manifested as motifs on circular boards. While taking up a temple project, Samuel came to know more about Tamil mythology and Dravidian style of architecture and observed that throughout history, there have been “additions and subtractions” and various versions of the same elements. For example, the peacock is represented in a certain way in the Chola dynasty, and more vibrantly by the Nayakas. And, it has been in constant change. His first heritage conservation project was of a temple in Udayarpalayam, a small village in Jayankondam taluk, near Gangaikondacholapuram. It dates back to the Cholas but a lot of the following dynasties did their additions to it. Another structure that inspired him lies in Mamallapuram, a cave called Mahishasura Mardini cave, which had representations that were out of the world. The horizontal bands of etchings displaying circular elements that run along temple structures, helped him pin down a circular format to portray the motifs in. The first work was on a bird that is not visually represented much anywhere — andril paravai. It has been mentioned in a lot of Tamil literature; in fact even contemporary Tamil movie songs mention the bird. Andril paravai is spotted in pairs, and if one dies, the other dies too. These birds appear, albeit subtly, in many temple structures. There are very few temple paintings, especially in the pre-Pallava era, that show the andril paravai. In the caves of Chittinavasal, in Pudukkottai, the motif can be seen on ceilings. In a few temples, it can be seen as ornamentation around the deity or a sculptural element. Matthew wanted to give this motif a form. After andril paravai, he moved on to parrots, peacocks and animals like the lion. Then, he started getting suggestions from others, of mythical creatures that he did not know of, like the gandaberunda, which was actually the royal insignia of the Mysore royal family. Also, the Maratha kings of Tanjore have represented gandaberunda in a different format. In Mysore royalty, it is more of a symmetrical one and in the Tanjore way of doing it, the form is not so much. This facet of history, which offers multiple narratives (spanning time periods), of the same idea is what feeds everyone’s interests.Q. What part of speech is the word ‘albeit’

View answer

Directions: Read the passage and answer the question that follows.Gandaberunda , the mythical two-headed bird, often seen as one of Lord Vishnu’s many incarnations in Hindu mythology, lies on a circular board of thick brown paper intricately etched out using a black pen. At first glance, a satisfying network of patterns is all one sees. But the motif also opens doors to history; especially that of the temple structures seen in Tamil Nadu. The gandaberunda is one of the many creatures that feature in artist and architect Mathew Samuel’s Divine Fauna, a 12-part series of sketches inspired from temple reliefs, manifested as motifs on circular boards. While taking up a temple project, Samuel came to know more about Tamil mythology and Dravidian style of architecture and observed that throughout history, there have been “additions and subtractions” and various versions of the same elements. For example, the peacock is represented in a certain way in the Chola dynasty, and more vibrantly by the Nayakas. And, it has been in constant change. His first heritage conservation project was of a temple in Udayarpalayam, a small village in Jayankondam taluk, near Gangaikondacholapuram. It dates back to the Cholas but a lot of the following dynasties did their additions to it. Another structure that inspired him lies in Mamallapuram, a cave called Mahishasura Mardini cave, which had representations that were out of the world. The horizontal bands of etchings displaying circular elements that run along temple structures, helped him pin down a circular format to portray the motifs in. The first work was on a bird that is not visually represented much anywhere — andril paravai. It has been mentioned in a lot of Tamil literature; in fact even contemporary Tamil movie songs mention the bird. Andril paravai is spotted in pairs, and if one dies, the other dies too. These birds appear, albeit subtly, in many temple structures. There are very few temple paintings, especially in the pre-Pallava era, that show the andril paravai. In the caves of Chittinavasal, in Pudukkottai, the motif can be seen on ceilings. In a few temples, it can be seen as ornamentation around the deity or a sculptural element. Matthew wanted to give this motif a form. After andril paravai, he moved on to parrots, peacocks and animals like the lion. Then, he started getting suggestions from others, of mythical creatures that he did not know of, like the gandaberunda, which was actually the royal insignia of the Mysore royal family. Also, the Maratha kings of Tanjore have represented gandaberunda in a different format. In Mysore royalty, it is more of a symmetrical one and in the Tanjore way of doing it, the form is not so much. This facet of history, which offers multiple narratives (spanning time periods), of the same idea is what feeds everyone’s interests.Q. The passage mainly focuses on ____________

View answer

Directions: Read the passage and answer the question that follows.Gandaberunda , the mythical two-headed bird, often seen as one of Lord Vishnu’s many incarnations in Hindu mythology, lies on a circular board of thick brown paper intricately etched out using a black pen. At first glance, a satisfying network of patterns is all one sees. But the motif also opens doors to history; especially that of the temple structures seen in Tamil Nadu. The gandaberunda is one of the many creatures that feature in artist and architect Mathew Samuel’s Divine Fauna, a 12-part series of sketches inspired from temple reliefs, manifested as motifs on circular boards. While taking up a temple project, Samuel came to know more about Tamil mythology and Dravidian style of architecture and observed that throughout history, there have been “additions and subtractions” and various versions of the same elements. For example, the peacock is represented in a certain way in the Chola dynasty, and more vibrantly by the Nayakas. And, it has been in constant change. His first heritage conservation project was of a temple in Udayarpalayam, a small village in Jayankondam taluk, near Gangaikondacholapuram. It dates back to the Cholas but a lot of the following dynasties did their additions to it. Another structure that inspired him lies in Mamallapuram, a cave called Mahishasura Mardini cave, which had representations that were out of the world. The horizontal bands of etchings displaying circular elements that run along temple structures, helped him pin down a circular format to portray the motifs in. The first work was on a bird that is not visually represented much anywhere — andril paravai. It has been mentioned in a lot of Tamil literature; in fact even contemporary Tamil movie songs mention the bird. Andril paravai is spotted in pairs, and if one dies, the other dies too. These birds appear, albeit subtly, in many temple structures. There are very few temple paintings, especially in the pre-Pallava era, that show the andril paravai. In the caves of Chittinavasal, in Pudukkottai, the motif can be seen on ceilings. In a few temples, it can be seen as ornamentation around the deity or a sculptural element. Matthew wanted to give this motif a form. After andril paravai, he moved on to parrots, peacocks and animals like the lion. Then, he started getting suggestions from others, of mythical creatures that he did not know of, like the gandaberunda, which was actually the royal insignia of the Mysore royal family. Also, the Maratha kings of Tanjore have represented gandaberunda in a different format. In Mysore royalty, it is more of a symmetrical one and in the Tanjore way of doing it, the form is not so much. This facet of history, which offers multiple narratives (spanning time periods), of the same idea is what feeds everyone’s interests.Q. Which of the following statements is true about andril paravai ?(i) although they are mentioned a lot in literature, they are not represented much, visually.(ii) they are always spotted in pairs and do not survive without the other.(iii) they are seen as ornamentation around the deity in so many temples.(iv) the motif can be seen on the ceiling and walls of the Chittinavasal cave.

View answer

Which of the following dynasties conquered Sri Lanka and South East Asian countries?

View answer

Top Courses for CLATView all

Legal Reasoning for CLAT

Lucent for GK

Current Affairs: Daily, Weekly & Monthly

CLAT Mock Test Series 2025

Crash Course for CLAT