MCQs- INDIAN AESTHETICS 

According to Bharata, how many rasas were originally proposed in the Nāṭyaśāstra?
A. Seven
B. Eight
C. Nine
D. Ten
Answer: B
 
Who added Śānta rasa to Bharata’s list of eight rasas? (PYQ)
A. Kuntaka
B. Abhinavagupta
C. Vāmana
D. Mammaṭa
Answer: B
 
In the formula of Rasa given by Bharata, Vibhāva refers to:
A. Consequent actions
B. Determinants
C. Permanent emotions
D. Transitory emotions
Answer: B
 
Which sthāyibhāva corresponds to Vīra rasa?
A. Rati
B. Hāsya
C. Utsāha
D. Krodha
Answer: C
 
Adbhuta rasa is associated with which sthāyibhāva?
A. Vismaya (wonder)
B. Utsāha (enthusiasm)
C. Rati (love)
D. Jugupsā (disgust)
Answer: A
 
The Dhvani theory was propounded by: (PYQ)
A. Kuntaka
B. Ānandavardhana
C. Mammaṭa
D. Rājaśekhara
Answer: B
 
According to Ānandavardhana, the highest form of dhvani is:
A. Alamkāra-dhvani
B. Vastu-dhvani
C. Rasa-dhvani
D. Śabda-dhvani
Answer: C
 
The Vakrokti theory was introduced by: (PYQ)
A. Kṣemendra
B. Kuntaka
C. Vāmana
D. Daṇḍin
Answer: B
 
In Vakrokti theory, “vakra” means:
A. Propriety
B. Suggestion
C. Obliqueness
D. Ornamentation
Answer: C
 
The Auchitya theory emphasises:
A. Sound beauty
B. Suggestion
C. Appropriateness
D. Simile and metaphor
Answer: C
 
Nāṭyaśāstra is attributed to:
A. Bharata
B. Daṇḍin
C. Ānandavardhana
D. Bhāmaha
Answer: A
 
Dhvanyāloka was authored by:
A. Ānandavardhana
B. Abhinavagupta
C. Mammaṭa
D. Rājaśekhara
Answer: A

Kāvyaprakāśa was written by: (PYQ)
A. Daṇḍin
B. Mammaṭa
C. Vāmana
D. Kṣemendra
Answer: B
 
Kāvyādarśa is a work by:
A. Bhāmaha
B. Daṇḍin
C. Ānandavardhana
D. Abhinavagupta
Answer: B
 
Sāhityadarpaṇa is authored by:
A. Viśvanātha Kavirāja
B. Rājaśekhara
C. Abhinavagupta
D. Kuntaka
Answer: A
 
Alamkāras are classified into how many main types?
A. Two – Śabda and Artha
B. Three – Vastu, Śabda, Artha
C. Four – Śabda, Artha, Dhvani, Guna
D. Two – Vastu and Artha
Answer: A
 
An example of śabda-alamkāra is:
A. Simile
B. Alliteration
C. Metaphor
D. Hyperbole
Answer: B
 
An example of artha-alamkāra is:
A. Anuprāsa
B. Yamaka
C. Rūpaka
D. Śleṣa (punning)
Answer: C
 
Vāmana is associated with which theory?
A. Guna
B. Dhvani
C. Rīti
D. Vakrokti
Answer: C
 
According to Vāmana, Rīti is:
A. The ornament of poetry
B. The soul of poetry
C. The style of poetry
D. The meter of poetry
Answer: B
 
The roots of Indian aesthetics can be traced to:
A. Vedic hymns and ritual drama
B. Greek tragedy
C. Persian epics
D. Roman theatre
Answer: A
 
The philosophical basis of Rasa theory in Kashmir Shaivism is linked to:
A. Abhinavagupta
B. Bhāmaha
C. Daṇḍin
D. Vāmana
Answer: A
 
The experience of rasa is compared to: (PYQ)
A. Intellectual argument
B. Spiritual bliss
C. Physical pleasure
D. Political debate
Answer: B
 
Which rasa is considered the most difficult to depict on stage?
A. Śṛṅgāra
B. Karuṇa
C. Śānta
D. Vīra
Answer: C
 
The term sādhāraṇīkaraṇa in Indian aesthetics refers to:
A. Appropriateness
B. Universalisation of emotion
C. Excessive ornamentation
D. Literal translation
Answer: B
 
Arrange the following in chronological order:
1.Bharata 2.Ānandavardhana
3.Mammaṭa 4.Abhinavagupta
A. 1-4-2-3
B. 1-2-4-3
C. 4-1-3-2
D. 2-1-4-3
Answer: B
 
Which Western concept is most closely compared with Bharata’s rasa? (PYQ)
A. Mimesis
B. Catharsis
C. Sublime
D. Imitation
Answer: B
 
Aristotle’s catharsis and Bharata’s rasa differ in that:
A. Catharsis is emotional release; Rasa is aesthetic relish
B. Catharsis is intellectual; Rasa is moral
C. Catharsis is physical; Rasa is political
D. They are identical concepts
Answer: A
 
The concept of dhvani is closest to which Western idea?
A. Denotation
B. Suggestion
C. Alliteration
D. Irony
Answer: B
 
Which is NOT a permanent emotion (sthāyibhāva)?
A. Rati
B. Śoka
C. Krodha
D. Smṛti
Answer: D
 
In Bharata’s scheme, vyabhicāribhāvas are:
A. Permanent emotions
B. Transitory emotions
C. Determinants
D. Consequents
Answer: B
 
The anubhāva in Rasa theory means:
A. Actions that express emotions
B. The cause of emotion
C. The emotion itself
D. The removal of emotion
Answer: A
 
Śṛṅgāra rasa is of two types:
A. Sambhoga and Vipralambha
B. Hāsya and Raudra
C. Śānta and Vīra
D. Karuṇa and Adbhuta
Answer: A
 
Which rasa is evoked by the sthāyibhāva of jugupsā?
A. Raudra
B. Bībhatsa
C. Bhayānaka
D. Adbhuta
Answer: B
 
The chief sthāyibhāva of karuṇa rasa is:
A. Śoka
B. Krodha
C. Bhaya
D. Rati
Answer: A
 
Who called dhvani the soul (ātmā) of poetry?
A. Mammaṭa
B. Ānandavardhana
C. Kuntaka
D. Abhinavagupta
Answer: B
 
Mammaṭa synthesised:
A. Dhvani and Vakrokti
B. Rasa, Dhvani, Alamkāra theories
C. Guna and Rīti
D. Western and Indian poetics
Answer: B
 
Who gave the earliest systematic treatment of alamkāra?
A. Bhāmaha
B. Daṇḍin
C. Vāmana
D. Kuntaka
Answer: A
 
Which text by Abhinavagupta is a commentary on Nāṭyaśāstra?
A. Locana
B. Abhinavabhāratī
C. Kāvyaprakāśa
D. Dhvanyāloka
Answer: B
 
Which theorist linked aesthetics with the concept of śānta as ultimate bliss?
A. Bharata
B. Ānandavardhana
C. Abhinavagupta
D. Kṣemendra
Answer: C
 
The emotional flavour in art according to Indian theory is:
A. Bhāva
B. Rasa
C. Vibhāva
D. Dhvani
Answer: B
 
Which is NOT an artha-alamkāra?
A. Rūpaka
B. Anuprāsa
C. Atiśayokti
D. Upamā
Answer: B
 
The permanent emotion for raudra rasa is:
A. Utsāha
B. Krodha
C. Śoka
D. Vismaya
Answer: B
 
Bhayānaka rasa is related to which sthāyibhāva?
A. Bhaya
B. Jugupsā
C. Krodha
D. Śoka
Answer: A
 
In auchitya, Kṣemendra emphasises:
A. Sound devices
B. Contextual propriety
C. Metaphorical suggestion
D. Historical accuracy
Answer: B
 
Which of these is a vyabhicāribhāva?
A. Rati
B. Krodha
C. Smṛti (memory)
D. Śoka
Answer: C
 
In Indian aesthetics, guni means:
A. One with virtues/excellences
B. Ornament
C. Meter
D. Emotion
Answer: A
 
The concept of rasa was first discussed in:
A. Vedas
B. Nāṭyaśāstra
C. Mahābhārata
D. Kāvyaprakāśa
Answer: B
 
The main function of poetry according to dhvani theory is:
A. Instruction
B. Entertainment
C. Suggestion
D. Ornamentation
Answer: C
 
Which scholar is associated with Kāvyamīmāṁsā?
A. Rājaśekhara
B. Viśvanātha
C. Kṣemendra
D. Vāmana
Answer: A