Solutions for NCERT  Class 7 History Our Pasts ll Chapter 7 ‘The Making of Regional Cultures’

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Find Answers to Solutions for NCERT Class 7 History Our Pasts ll Chapter 7 ‘The Making of Regional Cultures’ here.

1. Match the following.

Anantavarman	Kerala
Jagannatha	Bengal
Mahodayapuram	Orissa
Lilatikalam	Kangra
Mangalakavya	Puri
Miniature	Kerala

Answer:

Anantavarman	Orissa
Jagannatha	Puri
Mahodayapuram	Kerala
Lilatikalam	Kerala
Mangalakavya	Bengal
Miniature	Kangra

Notes:

a. In the 12^th Century Anantavarman of Ganga dynasty decided to build a temple for Jagannatha at Puri, Orissa.

b. The cult of Jagannatha (Lord of the World) is associated with the temple of Puri.

c. The Chera kingdom of Mahodayapuram was established in Kerala in the 9^th century in the south- 
   western part of the peninsula, part of present-day Kerala.

d. The ‘Lilatilakam’, a fourteenth century text dealing with grammar and poetics was composed in Manipravalam which was a hybrid language blending Sanskrit and old Malayalam (the regional language of Kerala).

e. Mangalakavyas were auspicious poems dealing with local deities in early Bengali literature.

f. Miniature paintings are small and intricate paintings depicting social scenes gained popularity in the Kangra valley, Himachal Pradesh.

2. What is Manipravalam? Name a book written in that language.

Answer:

Manipravalam which literally means “diamonds and corals” indicates the two languages – Sanskrit and the regional language. “Lilatilakam’, a book which deals with grammar and poetics, was written in Manipravalam which was a hybrid of Sanskrit and Malayalam.

3. Who were the major patrons of Kathak?

Answer:

The major patrons of Kathak were the Mughals emperors, their courtiers, the courts of Rajasthan and Lucknow, and the last Nawab of Awadh, Wajid Ali Shah.

• Kathak started evolving into a distinct mode of dance in the fifteenth and sixteenth centuries with the spread of the bhakti movement.
• The legends of Radha- Krishna were enacted in folk plays called ‘rasa lila’, which combines folk dance with the basic gestures of kathak story-tellers.
• Under the Mughal emperors and their nobles, Kathak was performed in the court and gradually developed its present features and grew into a form of dance with a distinctive style.
• Later it branched in two traditions or ‘gharanas’. The first one in the courts of Rajasthan (Jaipur) and the second in Lucknow.
• Under the patronage of Wajid Ali Shah, the last Nawab of Awadh, Kathak grew inro a major art form.

4. What are the important architectural features of the temples of Bengal?

Answer:

The important architectural features of the temples of Bengal were derived from the thatched huts in villages where once the local deities were worshipped:

• Many modest brick and terracotta temples were built usually on a square platform.
• The temples replicated the double-roofed ‘dochala’ and the four-roofed ‘chauchala’ structures of the thatched huts.
• In the complex four-roofed structures, four triangular roofs placed on four walls moved up to converge on a curved line or a point.
• The interior of the temples was plain, but the outer walls of many temples were decorated with paintings, ornamental tiles or terracotta tablets.
• In some temples particularly in Vishnupur in the Bankura district of West Bengal, these decorations reached a high degree of excellence.

Thus, a typical Bengali style evolved in temple architecture.

5. Why did minstrels proclaim the achievements of heroes?

Answer:

 Songs of minstrels proclaimed the achievements of heroic Rajput rulers who fought valiantly, often choosing death on the battlefield rather than face defeat. Their songs inspired others to follow the path of these brave warriors. Ordinary people were attracted by these dramatic tales which depicted a range of emotions and values like loyalty, friendship, love, valour.

6. Why do we know much more about the cultural practices of rulers than about those of ordinary
people?

Answer:

We know more about the cultural practices of rulers because they consciously adopted several means to record different events or landmarks in their lives for posterity, whereas ordinary people who struggled to earn their livelihood had neither the time nor the resources to preserve accounts of their cultural practices.

Stories about the valour of Rajput rulers were recorded in poems and songs which were sung by minstrels. Rulers patronised highly skilled miniature painters to illustrate manuscripts containing historical accounts and poetry. Rulers spent a lot of wealth for building temples which reflected their power and glory.

Ordinary men and women painted as well on pots, walls, floors, cloth but not many have survived the ravages of time unlike the paintings commissioned by rulers which were carefully preserved in their castles.

7. Why did conquerors try to control the temple of Jagannatha at Puri?

Answer:

The conquerors tried to control the Jagannath temple at Puri because it had become an important centre of pilgrimage and its authority in social and political matters had increased. When the Mughals, the Marathas and subsequently the East India Company conquered Orissa, they felt that control over the temple would make the local people accept their rule.

8. Why were temples built in Bengal?

Answer:

The coming of the European trading companies created new economic opportunities and many families belonging to ‘low’ social groups, such as the Kolu [oil pressers) and Kansaris (bell metal workers) benefited from these opportunities. As their social and economic positions improved, they proclaimed their new status through the construction of many modest brick and terracotta temples.
When the local deities, once worshipped in thatched village huts, gained the recognition of the Brahmanas, their images began to be housed in temples constructed in the typical Bengali style of temple architecture.
Temples were built in Bengal by some individuals or groups to house the local deities and, also to demonstrate their power and richness.

Let’s Do

10. Describe the most important features of the culture of your region, focusing on buildings, performing arts and painting.

Answer:

My city – Delhi has a unique culture which blends history and modernity.  

The city’s famous architectural landmarks are a proof of its rich past. Striking structures such as the Red Fort and Qutub Minar tell tales of bygone eras and offer insights into the city’s historical journey, while The Parliament building and The Secretariat exhibit modern India.

Delhi’s vibrant performing arts scene is a harmonious symphony of traditional and contemporary expressions. Audiences are enthralled by the graceful rhythm of Kathak dance and the soul-stirring melodies of Qawali music. The city’s theaters come alive with theatrical performances that bridge cultures and time.

The art scene in Delhi is a mosaic of diverse artistic perspectives. From the intricate Mughal miniatures that capture royal elegance to modern artworks that challenge conventions, the city’s. galleries and exhibitions showcase diverse styles, inspiring both locals and visitors.

10. Do you use different languages for (a) speaking, (b) reading, (c) writing? Find out about one major composition in language that you use and discuss why you find it interesting

Answer:

I use different languages for speaking, reading and writing:

For speaking I use Hindi, Bengali and English

For reading I am comfortable with Hindi and English

For writing I use Hindi and English.

I found the play called ‘Hamlet’ by William Shakespeare very interesting. It is a renowned tragedy written during the Elizabethan era in the 16^th century. The English language was very different from modern English and I needed help to understand it.

Shakespeare’s intricate characters and multifaceted themes make “Hamlet” a timeless work. The protagonist’s introspection, dilemmas, and complex psychology offer deep insights into human nature and existential questions.

11. Choose one state each from north, west, south, east and central India. For each of these, prepare a list of foods that are commonly consumed, highlighting any differences and similarities that you notice.

Answer:

Here is a list of commonly consumed foods from five different regions of India: North, West, South, East, and Central:

States	List of foods
North India – Punjab	Sarson da Saag and Makki di Roti Chole Bhature Rajma Chawal Tandoori Chicken Aloo Paratha
West India – Maharashtra	Vada Pav Pav Bhaji Poha Misal Pav Batata Vada
South India	Idli with Sambar and Coconut Chutney Dosa with Chutney and Sambar Pongal Rasam Chettinad Chicken Curry Rice
East India	Fish Curry (Machher Jhol) Rosogolla Luchi with Alur Dom Sandesh Shorshe Ilish Rice
Central India – Madhya Pradesh	Poha Bhutte Ka Kees Dal Bafla Jalebi Bhopali Gosht Korma

Similarities and Differences:

Grains: Rice is a common staple across regions, while wheat-based dishes like Roti or Paratha are more prevalent in the North and parts of West India.

Spices: Spices are used generously in all regions, but the type of spices can vary. South Indian cuisine is known for its use of curry leaves and coconut and tamarind, while North Indian cuisine often features rich gravies and tandoori preparations.

Non-Vegetarian Dishes: While non-vegetarian dishes are common in all regions, the choice of meats and methods of preparation differ. Coastal regions like West Bengal, Tamil Nadu have a strong seafood influence, while North Indian cuisine includes dishes like Tandoori Chicken and Kebabs.

Vegetarian Dishes: Vegetarianism is more prevalent in West and Central India, where dishes like Poha, Bhutte Ka Kees, and Batata Vada are popular.

12. Choose another set of five states from each these of these regions and prepare a list of clothes that are generally worn by women and men in each. Discuss your findings.

Answer:

Here is a list of traditional clothing commonly worn by women and men in five different states from different regions of India: North, West, South, East, and Central

State	Clothes worn by women	Clothes worn by men
North India – Uttar Pradesh	Sari, Salwar Kameez	Kurta Pajama, Dhoti Kurta Shirt, pant
West India – Gujarat:	Chaniya Choli, Sari	Kurtapajama, Dhoti Kurta, Shirt .Pant
South India – Karnataka	Sari, Salwar Kameez	Lungi, Shirt, Dhoti Shirt, pant
East India – Assam	Mekhla chador, sari, salwar kameez	Dhoti jama, shirt, pant
Central – Chattisgarh	Lugda-Choli, Sari	Dhoti Kurta, Kurta Pajama Shirt, pant

Findings and Observations:

Traditional Attire: Traditional clothing often reflects the cultural heritage and climatic conditions of each region. For example, the lungi is commonly worn by men in South India due to the warm climate, while the Dhoti Kurta is popular in various states for its comfort and traditional appeal.

Women’s Clothing: Saris and Salwar Kameez are versatile and widely worn by women across different regions. However, variations in draping styles and blouse designs add unique cultural touches.

Men’s Clothing: Kurta Pajama and Dhoti Kurta are prevalent among men in many states, showcasing their enduring popularity and timeless appeal.

Festive Attire: Special occasions often call for more elaborate and embellished attire. For instance, women in Gujarat wear the vibrant Chaniya Choli during Navaratri celebrations.

Cultural Diversity:  Each state has distinct clothing styles that represent its cultural diversity. For instance, Chhattisgarh’s Lugda-Choli is specific to its local traditions.

Modern Influence: While traditional clothing remains important, there is a growing influence of Western attire in urban areas. Many people, especially the younger generation, opt for a blend of traditional and modern styles.

The diversity in traditional clothing across different states reflects India’s rich cultural tapestry. These garments not only represent cultural identities but also contribute to the country’s vibrant and ever-evolving fashion industry.

Solutions for In-Text questions of NCERT Class 7 History Our Pasts ll Chapter 7 ‘The Making of Regional Cultures’

Textbook Page 79

1. Find out how many states have been created in the last 10 years. Is each of these states a region?

Answer:

Four new States have been created in the last ten years in India. They are as follows:

State	Date of creation
Chhattisgarh	01/11/2000
Uttarakhand	9/11/2000
Jharkhand	15/11/2000
Telengana	02/06/2014

Yes, each of these states is a region.

Textbook Page 80

2. Find out when the language(s) you speak at home were first used for writing.

Answer:

I speak Bengali at home.
It is difficult to pin down exactly when Bengali was first used in writing. The period between 10th and 12^th/13th centuries is regarded as the formative period of the Bengali language. This may be referred to as the proto-Bengali stage. The only representative text of this period was the Caryāpada. It was a text, containing 47 songs (also called caryās or padas) in total that were composed by 23 Siddhas or mystic teachers over a period of about 200 years. It was probably written in the 12^th Century, according to linguist Suniti Kumar Chatterjee.

Textbook Page 83

3. Find out whether there are traditions of heroes/heroines in your town or village. What are the qualities associated with them? In what ways are these similar to or different from the heroic ideals of the Rajputs?

Answer:

One of the celebrated heroes of Delhi was Prithviraj Chauhan, the last Hindu ruler of the Chauhan dynasty, known for his exceptional courage and valour on the battlefield. He displayed remarkable bravery in numerous conflicts against rival kingdoms and invaders.

Prithviraj Chauhan’s most famous heroic feat was his victory in the First Battle of Tarain in 1191, where he defeated the invading Muslim ruler, Muhammad Ghori. His tactical brilliance and fearless leadership played a crucial role in securing this victory.

Prithviraj Chauhan’s love for Samyukta (Sanyogita) and his daring efforts to win her hand in marriage showcase his romantic and adventurous side. Samyukta was the daughter of Jayachandra, king of  Kannauj. Samyukta had fallen in love with Prithviraj after hearing of his bravery and daring and declared that she would marry only him.

Jayachandra organised a swayambar ceremony for Samyukta but did not invite Prithvitraj. Nevertheless, Prithviraj went to Kannauj with a hundred soldiers and eloped with Samyukta. His determination and willingness to take risks for love are also seen as a heroic quality and captured the imagination of the people.

Textbook Page 84

4. Find out more about any one of these dance forms.

Answer:

Manipuri dance

Manipuri classical dance is a captivating traditional dance form originating in the north-eastern state of Manipur in India. It is known for its grace, fluidity, and spiritual essence.

Manipuri dance is characterized by gentle and lyrical movements that reflect a deep connection with nature and spirituality. It incorporates delicate hand gestures (mudras), expressive facial expressions, and intricate footwork. The dance often tells mythological and devotional stories, emphasizing devotion and love. Manipuri dances tell a wide range of stories, often drawn from mythology, folklore, and cultural narratives of Manipur. These stories are brought to life through the expressive movements, gestures, and emotions of the dancers.

Some common themes and stories depicted in Manipuri dances include the life and exploits of Lord Krishna. Dances like “Raslila” depict episodes from Krishna’s life, his playful interactions with the gopis (cowherd girls), and his divine love stories.

The divine love between Radha and Krishna is a recurring theme in Manipuri dances. Dances like “Mangal Ras” depict the eternal bond between Radha and Krishna and their symbolic union.

Dancers adorn colourful traditional costumes. The women wearing Potloi costumes characterized by a cylindrical skirt and a choli (blouse), adorned with rich embroidery and jewellery. Men typically wear a dhoti and shirt.

The dance is accompanied by soul-stirring music that combines vocal and instrumental elements. The Pung (a type of drum), flute, and cymbals create a melodic and rhythmic backdrop, enhancing the dance’s emotive impact.

In essence, Manipuri classical dance is a mesmerizing art form that seamlessly weaves movement, music, and storytelling. It embodies the cultural ethos of Manipur and enchants audiences with its elegance and spiritual resonance.

Textbook Page 87

5. However, what is interesting is that while Bengali is now recognised as a language derived from Sanskrit, early Sanskrit texts (mid-first millennium bce) suggest that the people of Bengal did not speak Sanskritic languages. How, then, did the new language emerge?

Answer:

Although Bengali is now recognised as a language derived from Sanskrit, early Sanskrit texts (mid-first millennium BCE) suggest that the people of Bengal did not speak Sanskritic languages. From the fourth-third centuries BCE, commercial ties began to develop between Bengal and Magadha (south Bihar), which may have led to the growing influence of Sanskrit.

During the fourth century the Gupta rulers established political control over north Bengal and began to settle Brahmanas in this area. Thus, the linguistic and cultural influence from the mid-Ganga valley became stronger. In the seventh century the Chinese traveller Xuan Zang observed that languages related to Sanskrit were in use all over Bengal.

Textbook Page 89

6. Why do you think the second category of texts was not written down?

Answer:

The second category of literature included Nath literature such as the stories of Maynamati and Gopichandra, stories concerning the worship of Dharma Thakur, a popular regional deity often worshipped in the form of a stone or a piece of wood, also fairy tales and folk tales.

They had nothing to do with the Brahamanas and were more popular in the eastern part of Bengal where the influence of Brahamanas was weak. That is why, they were not written down because in those days, only the Brahmanas could write.

Textbook Page 90

7. Compare the temple shown here with that in Chapter 2.

Answer:

The picture pf the temple shown in Chapter 2 is that of Gangaikonda cholapuram which is a grand structure built of stone. It has a distinctive roof which tapers and narrows upwards. Intricately carved stone sculptures decorate the outer walls and the roof.

The picture of the temple in this chapter is a four roofed temple(chauchala) with a tower, built on a square platform in the typical Bengali style of temple architecture replicating a thatched hut. The outward walls are embellished with terracotta figures and ornamental tiles.

Textbook Page no 92

Imagine

You are a Rajput prince. How would you like your story to be told?

Answer:

If I were a Rajput prince, I would want my story to reflect the code of honour, bravery and chivalry which is the legacy of the Rajput royals. I would want my story to inspire my successors to live up to following Rajput ideals:

1. Courage: My story would emphasize my fearlessness on the battlefield while defending my kingdom against invaders and ensuring the safety of my subjects. I would want my courage and indomitable spirit in the face of challenges to be a shining example of Rajput valour.

2. Leadership: I would want my leadership qualities to be emphasized – The wisdom, compassion and fairness with which I lead my people, ensuring justice for all and the welfare of my subjects.

3. Loyalty: The story would portray my unbreakable bond with my fellow Rajputs and allies – how I stood united with them in times of need, forging unbreakable alliances for the greater good.

4. Love and Sacrifice: My story would portray my devotion to family, kingdom, and principles. It would depict the challenges I faced and the sacrifices I made for the well-being of my people.

5. Legacy of Unity: Above all, I would want my story to reflect the spirit of unity among Rajputs and the wider community. It would convey how, through our collective strength and unwavering spirit, we overcame adversities and safeguarded our land and traditions.

Extra Questions NCERT Class 7 History Our Pasts ll Chapter 7  ‘The Making of Regional Cultures’

A. Multiple Choice type Questions (MCQ)

1. Which regional language was first used in official records in the subcontinent?

(i)  Bengali

(ii)  Hindi

(iii) Malayalam

(iv) Tamil

2. Where was the Chera Kingdom of Mahodayapuram established in the ninth century?

(i) Orissa

(ii) Bengal

(iii) Tamil Nadu

(iv) Kerala

3. The temple theatre of Kerala borrowed stories from _________epics.

(i) Tamil

(ii) Malyalam

(iii) Sanskrit

(iv) None of the above

4. Where did the cult of Jagannath develop?

(i) Delhi

(ii) Rajasthan

(iii) Magadh

(iv) Puri, Orissa

5. Which king proclaimed himself as the deputy of God?

(i) Anatavarman

(ii) Anangabhima lll

(iii) Both (i) and (ii) above

(iv) None of the above

6. The stories of the Rajput heroes were recorded  as

(i) songs and poems

(ii) as plays

(iii) as dances

(iv) None of the above

7. Which of the following is a classical dance forms of Andhra Pradesh?

(i) Kathakali

(ii) Kuchipudi

(iii) Bharatnatyam

(iv) Odissi

8. Which was not a subject of miniature paintings under Mughal patronage?

(i) court scenes

(ii) battles or hunting

(iii) themes from mythology

(iv) different aspects of social life

9. The initial miniature paintings were done on_____

(i) cloth.

(ii) canvas

(iii) bark of the tree

(iv) palm leaves

10. Bengali language was derived from______.

(i) Urdu

(ii) Sanskrit

(iii) Persian

(iv) Hindi

Answer:

1. (iii) Malayalam

2. (iv) Kerala

3. (iii) Sanskrit

4. (iv) Puri, Orissa

5. (ii) Anangabhima lll

6. (i) songs and poems

7. (ii) Kuchipudi

8. (iii) themes from mythology

9. iv) palm leaves

10.(ii) Sanskrit

B. Fill in the blanks with suitable words from the box to complete the following sentences:

kathaks

Anantavarman

Lilatilakam

Brihaddharma

Basholi

1. ___________ was a fourteenth-century text dealing with grammar and poetics composed in Manipravalam.

2. In the twelfth century, one of the most important rulers of the Ganga dynasty, ___________,decided to erect a temple for Purushottam Jagannatha at Puri

3. The  _________ were originally a caste of story-tellers in temples of North India,who embellished their performances with gestures and songs

4. By the late 17^th century, a bold and intense style of miniature painting  called the __________had developed in the Himalayan foothills.

5. The__________Purana, a thirteenth century Sanskrit text from Bengal, permitted the local Brahamanas to eat certain varieties of fish.

Answer:

1. Lilatilakam was a fourteenth-century text dealing with grammar and poetics composed in Manipravalam.

2. In the twelfth century, one of the most important rulers of the Ganga dynasty, Anantavarman,  decided to erect a temple for Purushottam Jagannatha at Puri.

3. The kathaks were originally a caste of story-tellers in temples of North India,who embellished their performances with gestures and songs

4. By the late 17^th century, a bold and intense style of miniature painting called the Basholi had developed in the Himalayan foothills.

5. The Brihaddharma Purana, a thirteenth century Sanskrit text from Bengal, permitted the local Brahamanas to eat certain varieties of fish.

C. Match the words in column A with those in column B

A	B
vihara	Four-roofed hut
Chauchala	Leader of Vaishnava bhakti movement
Mangalakavya	Sanskrit and the regional language
manipravalam	Buddhist monasteries
Chaitanyadeva	Auspicious poems

Answer:

A	B
viharas	Buddhist monasteries
Chauchala	Four-roofed hut
Mangalakavya	Auspicious poems
Manipravalam	Sanskrit and the regional language
Chaitanyadeva	Leader of Vaishnava bhakti movement

D. State whether the following statements are TRUE or FALSE:

1.The Mughals  established control over Bengal with their capital in the heart of the eastern delta at Dhaka.

2. Dharma Thakur was a popular community leaderwho was ascribed with supernatural powers.

3. Some of the most beautiful miniatures, found in western India, were used to illustrate Buddhist texts.

4.  Under the mughals and their nobles, Kathak was performed in the court, where it acquired its present features and developed into a form of dance with its distinctive style.

5. In the nineteenth century, the region that constitutes most of present-day Rajasthan was called Rajputana by the British.

Answer:

1. True

2. False – Dharma Thakur is a popular regional deity , often worshipped in the form of a stone or a piece of wood. Stories composed  about the worship of Dharma Thakur were part of the Nath literature of Bengal.

3. False –  Some of the most beautiful miniatures, found in western India, were used to illustrate Jaina texts.

4. True

5. True

E.  Very Short Answer type Questions:

1. Which region was called Rajputana by the British?
Answer:
In the nineteenth century, the region that constituted most of present-day Rajasthan, was called Rajputana by the British.

2. How did the Cheras help in the development of Malayalam?
Answer:
The rulers of the Chera kingdom of Mahodayapuram, present-day Kerala, introduced Malyalam language and script in their inscriptions which helped in the development of the language.

3. Which ideals did the Rajput kings cherish?
Answer:
The Rajput rulers cherished the ideal of the fearless hero who fought valiantly, often choosing death on the battlefield rather than face defeat.

4. Who was Anantavarman?
Answer: 
Anantavarman was one of the most important rulers of the Ganga dynasty in the 12th century. He erected a temple for Purushottama Jagannatha at Puri.

5. What does the term ‘Kathak ‘mean?
Answer:
The term ‘Kathak’ is derived from ‘Katha’, a word used in Sanskrit and other languages for story.

6. Who were the ‘kathaks’?
Answer:
The ‘kathaks’ were originally a caste of story-tellers in temples of North India who embellished their performances with gestures and songs.

7. Where did ‘kathak’ as a dance form develop?
Answer:
 Kathak as a dance form developed in the Mughal courts and also in the courts of Rajasthan (Jaipur) and Lucknow.

8. Under whose patronage did ‘kathak’ grow into a major art form?
Answer: 
Kathak grew into a major art form under the patronage of Wajid Ali Shah, the last Nawab of Awadh.

9. What do you understand by miniatures?
Answer:
Miniatures are small -sized detailed paintings generally done in water colour on paper or cloth.

10. Who were the Naths?
Answer: 
The Naths were the ascetics who engaged in a variety of yogic practices.

11. What was the bold and intense style of Miniature painting that developed in the Himalayan foothills of present-day Himachal Pradesh called?
Answer:
The bold and intense style of Miniature painting that developed in the Himalayan foothills of present-day Himachal Pradesh was called ‘Basohli’.

12. Name the text that was illustrated in the Basohli style of miniature painting of Himachal Pradesh.
Answer:
The text that was illustrated in the Basohli style of miniature painting of Himachal Pradesh was Bhanudatta’s ‘Rasamanjari’.

13. From where did the Brahamanas of Bengal derive the authority to eat fish?
Answer:
The Brihaddharma Purana, a thirteenth century Sanskrit text from Bengal, authorised the local brahmanas to eat certain varieties of fish.

14. What do terracotta plaques on the walls of temples and viharas depict?
Answer:
The terracotta plaques on the walls of temples and viharas depict scenes of fish being dressed and taken to the market in baskets.

15. In which region would you find ‘Dochala’ and ‘Chauchala’ and where were they used?
Answer:
‘Dochala’ means two-roofed and ‘Chauchala’ means four-roofed. Dochala and Chauchala were used in Bengal region in the structure of the thatched huts and subsequently in temples.

F. Short Answer Type Questions:

1.  How did regional cultures evolve? 

Answer:

Regional cultures today are the product of complex processes of intermixing of local traditions with ideas from other parts of the sub-continent. Some traditions appear specific to some regions, others seem to be similar across regions and yet others derive from older practices in a particular area, but take a new form in other regions.

2. What was the role of Cheras in the development of Malayalam?

Answer:

The Chera kingdom of Mahodayapuram was established in the ninth century in the south-western part of the peninsula, part of present-day Kerala. It is very likely that Malayalam was spoken in this region. The rulers and kings introduced and mentioned the Malayalam language and script in their inscriptions. As a matter of fact, this is one of the earliest illustrations of the use of a regional language in official records in the subcontinent.

3. How did Miniature painting develop under the Mughal patronage?

Answer:

Miniatures are small-sized paintings, generally done in water colour on cloth or paper. The earliest miniatures were on palm leaves or wood. The Mughal emperors Akbar, Jahangir and Shah Jahan patronised highly skilled painters and artists who first and foremost illustrated manuscripts which contained historical events and poetry. These were generally painted in brilliant and bright colours and portrayed court scenes, scenes of battle or hunting, and other aspects of social life. They were often exchanged as gifts and were viewed only by the emperor and his close associates.

4. Why did the Mughal artists migrate to the hills? What happened after their migration?

Answer:

Following Nadir Shah’s invasion and the conquest of Delhi, the Mughal artists migrated to the hills to escape the uncertainties of the plains.They found readypatrons there  which led to the founding of the Kangra school of painting. By the mid eighteenth century the Kangra artists inspired by the Vaishnavite traditions developed a style which breathed a new spirit into miniature painting. Kangra paintings were made with soft colours including cool blues and greens and a lyrical treatment of themes which made it different from other paintings.

5. In which year Jagannatha temple at Puri was built, by whom it was built? Who proclaimed himself a deputy of the God? Why did the conquerors try to gain control over the temple?

Answer:

In the 12th century, one of the most important rulers of Ganga Dynasty, Anantavarman, built a temple for Purushottama Jagannatha at Puri.

Subsequently in 1230, King Anangabhima lll dedicated the temple to the deity and proclaimed himself a ‘deputy’ of the God.

As the temple gained importance as a centre for pilgrimage, its authority in social and political matters also increased. All those who conquered Orissa, such as the Mughals, the Marathas and the East India company, attempted to take over control of the temple because they felt it would make their rule acceptable to the local inhabitants.

6. Who makes the wooden image of Lord Jagannath?

Answer:

The local tribal people make the wooden image of the deity till date. This suggests that the deity was originally a local God who was later identified as Vishnu and worshipped as Jagannatha which literally means ‘lord of the world’.

7. Write a short note about the role Rajput women play in the stories of Rajput valour.

Answer:

Women find mention in the stories about Rajput valour as the “cause” of conflicts. Men fought one another either to “win” or “protect’ women.
Like men, Rajput women were also very brave and were depicted as following their husbands in both life and death. To protect their honour, the practice of “sati” or Self-immolation of widows on the funeral pyre of their heroic husbands was started by Rajput women. So those who followed the heroic ideal had often to pay for it with their lives.

8. What are the six dance forms that are recognised as classical? Why are they regarded as classical?

Answer: 

The six classical dances forms are:

• Kathak (North India)
• Bharatnatyam (Tamil Nadu)
• Kathakali (Kerala)
• Odissi (Orissa)
• Kuchipudi (Andhra Pradesh)
• Manipuri (Manipur).

Indian classical dance forms have evolved over thousands of years and are deeply rooted in Indian culture, mythology, and religious traditions. They follow strictly laid down rules and variations are not encouraged. That is why they are regarded as classical.

9. Who were the pirs? What was their position in society?
 
Answer: 

Pirs were spiritual leaders sometimes ascribed with supernatural powers. They also functioned as teachers and adjudicators. When early settlers in east Bengal sought some order and assurance in the unstable conditions of the new settlements, pirs guided them and gave them full moral support. People viewed ‘pirs’ as respectful figures.
The term included saints or Sufis and other religious personalities, daring colonisers and deified soldiers, various Hindu and Buddhist deities and even animistic spirits. The cult of ‘pirs’ became very popular and their shrines can be found everywhere in Bengal.

10. What is the significance of fish in Bengal?

Answer:

 Bengal is a riverine plain which produces abundant rice and fish. These two food items figure prominently in the diet of the Bengalis. Fishing has always been an important occupation and Bengali literature contains several references to fish. Terracotta plaques on the walls of temples and viharas depict scenes of fish being dressed and taken to the market in baskets.

Due to the popularity of fish in the local diet, the Brahmanical authorities relaxed the rule which prohibited Brahamanas from eating non-vegetarian food, so the Bengal Brahmanas also started eating fish. The Brihaddharma Purana, a thirteenth-century Sanskrit text from Bengal, permitted them to eat certain varieties of fish.

G. Long answer Type Questions

1. Write a brief account of the Rajput tradition of heroism?

Answer:

 Rajputs are closely associated with the culture of Rajasthan. It is their contribution which made the culture of Rajasthan distinctive. The cultural traditions of Rajasthan were linked with the ideals and aspirations of rulers. From about the eighth century, most of the present-day Rajasthan was ruled by various Rajput families.
The name of Prithviraj is worth mentioning because he was one of the ablest Rajput rulers. These Rajput rulers are known for their bravery and sense of sacrifice. They cherished the ideal of the hero who fought valiantly, often choosing death on the battlefield rather than face defeat.Stories about Rajput heroes were recorded in poems and songs, which were recited by specially trained minstrels. These preserved the memories of heroes and were expected to inspire others to follow their examples.
Ordinary people also liked these stories which often depicted dramatic situations and a range of strong emotions and values like like loyalty, friendship, love, valour, anger etc.

2. Give a detailed description of the evolution of kathak, a popular classical dance form of north India.

Answer: 

The term ‘Kathak’ is derived from ‘Katha’, a word used in Sanskrit and other languages for story. The Kathaks was originally a caste of storytellers in temples of north India, who embellished their performances with gestures and songs. Kathak began evolving into a distinct mode of dance in the 15th and 16th centuries with the spread of the Bhakti movement.

The legends of Radha-Krishna were enacted in folk plays known as rasa Lila, which combined folk dance with the basic gestures of the Kathak story-tellers.

Under the Mughal emperors and their nobles, Kathak was performed in the court where, it acquired its present features and developed into a form of dance with a distinctive style.

Later, it developed in two traditions known as gharanas—one in the courts of Rajasthan, Jaipur, and the other in Lucknow. Under the patronage of Wajid Ali Shah, the last Nawab of Awadh, kathak grew into a major art form.

By the third quarter of the 19th century, it was firmly established as a dance form not only in these two regions but also in the adjoining areas of present-day Punjab, Haryana, Jammu & Kashmir, Bihar, and Madhya Pradesh. Emphasis was laid on intricate and rapid footwork, elaborate costumes as well as on the enactment of stories. Although most British administrators never favoured Kathak, it survived and continued to be performed by courtesans. It was recognised as a classical dance form after the country got independence.

3. How did Bengali develop as a regional language?

Answer:

Bengali is said to have been derived from Sanskrit but early Sanskrit texts suggest that the people of Bengal did not speak Sanskritic languages. It is interesting to trace how this new language developed.
From the fourth-third centuries BCE, commercial ties developed between Bengal and Magadha which may have led to the growing influence of Sanskrit.
During the fourth century, the Gupta rulers established political control over north Bengal and began to settle Brahmanas in this area. Thus, the linguistic and cultural influence from the mid-Ganga valley became stronger.

In the seventh century, the Chinese traveller Xuan Zang observed that languages related to Sanskrit were in use all over Bengal.
 
From the eighth century, Bengal became the centre of a regional kingdom under the Palas.

Between the 14th and 15th centuries, Bengal was ruled by Sultans who were independent of the rulers in Delhi.

In 1586, when Akbar conquered Bengal, it formed the nucleus of the Bengal Suba, While Persian was the language of administration, Bengali developed as a regional language.

By the 15th century, the Bengali group of dialects came to be united by a common literary language based on the spoken language of the western part of the region, now known as West Bengal.

Thus, although Bengali is derived from Sanskrit, it passed through several stages of evolution. A wide range of non-Sanskrit words, derived from tribal languages, Persian and European language, have become part of modem Bengali.

4. Write a note on the early Bengali literature.

Answer:

Early Bengali literature may be divided into two categories – one indebted to Sanskrit and the other independent of it.

The first category of literature includes translations of Sanskrit epics, the Mangalakavyas or auspicious poems dealing with local deities and bhakti literature such as the biographies of Chaitanya, the leader of the Vaishnavite movement . The texts belonging to this category are easier to date, as several manuscripts have been found indicating that they were composed between the fifteenth and mid-eighteenth centuries.

The second category consists of Nath literature such as the songs of Maynamati and Gopichandra stories concerning the worship of Dharma Thakur and tales, folk tales and ballads. These were circulated orally so they cannot be precisely dated. These were particularly popular in east Bengal where the influence of brahmanas was relatively weak.

Frequently asked Questions (FAQs) on NCERT Class 7 History Our Pasts-ll Chapter 7  ‘The Making of Regional Cultures’