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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 ____________a)how history can be brought back using modern day technology.b)how gandaberunda was depicted by different South Indian kingdoms.c)the motifs inspired by Dravidian temple architectured)discovering the lineage of Dravidian kingdoms.Correct answer is option 'C'. Can you explain this answer? for CLAT 2024 is part of CLAT preparation. The Question and answers have been prepared according to the CLAT exam syllabus. Information about 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 ____________a)how history can be brought back using modern day technology.b)how gandaberunda was depicted by different South Indian kingdoms.c)the motifs inspired by Dravidian temple architectured)discovering the lineage of Dravidian kingdoms.Correct answer is option 'C'. Can you explain this answer? covers all topics & solutions for CLAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for 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 ____________a)how history can be brought back using modern day technology.b)how gandaberunda was depicted by different South Indian kingdoms.c)the motifs inspired by Dravidian temple architectured)discovering the lineage of Dravidian kingdoms.Correct answer is option 'C'. Can you explain this answer?.

Solutions for 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 ____________a)how history can be brought back using modern day technology.b)how gandaberunda was depicted by different South Indian kingdoms.c)the motifs inspired by Dravidian temple architectured)discovering the lineage of Dravidian kingdoms.Correct answer is option 'C'. Can you explain this answer? in English & in Hindi are available as part of our courses for CLAT. Download more important topics, notes, lectures and mock test series for CLAT Exam by signing up for free.

Here you can find the meaning of 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 ____________a)how history can be brought back using modern day technology.b)how gandaberunda was depicted by different South Indian kingdoms.c)the motifs inspired by Dravidian temple architectured)discovering the lineage of Dravidian kingdoms.Correct answer is option 'C'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of 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 ____________a)how history can be brought back using modern day technology.b)how gandaberunda was depicted by different South Indian kingdoms.c)the motifs inspired by Dravidian temple architectured)discovering the lineage of Dravidian kingdoms.Correct answer is option 'C'. Can you explain this answer?, a detailed solution for 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 ____________a)how history can be brought back using modern day technology.b)how gandaberunda was depicted by different South Indian kingdoms.c)the motifs inspired by Dravidian temple architectured)discovering the lineage of Dravidian kingdoms.Correct answer is option 'C'. Can you explain this answer? has been provided alongside types of 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 ____________a)how history can be brought back using modern day technology.b)how gandaberunda was depicted by different South Indian kingdoms.c)the motifs inspired by Dravidian temple architectured)discovering the lineage of Dravidian kingdoms.Correct answer is option 'C'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice 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 ____________a)how history can be brought back using modern day technology.b)how gandaberunda was depicted by different South Indian kingdoms.c)the motifs inspired by Dravidian temple architectured)discovering the lineage of Dravidian kingdoms.Correct answer is option 'C'. Can you explain this answer? tests, examples and also practice CLAT tests.