The Indian Air Force celebrated its Golden Jubilee in ?->(Show Answer!)

1. The Indian Air Force celebrated its Golden Jubilee in

Write Comment

Comments

Tags

Show Similar Question And Answers

QA->In which year Golden Jubilee is celebrated....

QA->First Woman Air Vice-Marshal and Air-Marshal in Indian Air Force....

QA->Which ofthe following tournament celebrated its silver jubilee on April 6, 2016?....

QA->The Prime Minister of India when Indiacelebrated the golden jubilee of its independence:....

QA->The year 1995 is the golden Jubilee year of which international organisations?....

MCQ-> Read the following passage carefully and answer the questions given below it. Certain words are printed in bold to help you to locate them while answering some of the questions. Once upon a time there lived a queen in the city of Benaras. Her name was Khema and she was the wife of King Bahuputtaka:One night, the Queen had a dream of a beautiful golden goose that spoke with great wisdom, almost as if he was a sage: She told her husband that she desperately wanted to see a bird just like the one in her dream. So the King aksed his ministers to find out all that they could about a bird such as this. He was told that such a bird did exist but was extremely rare and difficult to find: They advised him to build a beautiful lake aon the outskirts of Benaras so that he may attract such rare and lovely creatures to reside there: In this way the queen might have her wish. Towards the norh, on Mount Cittakuta, there lived about ninety thousand wild geese headed by a beautiful golden goose called King Dhatarattha He got to hear of this exquisite lake surrounded by water lilies and lotuses floating on the surface: The kKing had invited all the birds to come and live on it, promising that one of them would ever be harmed: Corn was acattered on a daily basis in order to attract the birds. So a couple of geese went up to their King, the golden goose and told him that they were quite tired of living up on the mountains and would like to see this wonderful lake where they had been promised food and protection. The king agreed to their request and took the floc down south towards Benaras. Meanwhile, at the lake ing Bahuputtaka had placed hunters all around in order to capture any golden goose that happened to pass by. So the next morning when the headhunter saw this flock of geese approaching he was very excited to see their golden leader. He immediatey went about setting up a snare amongst the water lilies and lotuses, as he knew that the leader would definitely be the first to alight. The whole flock came flying down in one mighty seoop and as expected it was the King’s foot that touched the water first. He was esnsnared and could not escape: Seeing this, the other geese flew into a panic: But none had the courage to try to free their king and so flew back to Mount Cittacuta for safety. All except one: He was the chief captain, Sumukha:King Dhatarattha entreated him to fly to safety too, as he would surely be captured if he stayed by his sid: But Sumukha replied that he would never desert his master in the face of danger and swould either try to save him or die by his side: At this point the hunter approached and as Sumukha saw him he decided to appeal to his compassion. The hunter asked the golden goose how come he had not noticed the trap that was set. The golden goose replied that when one’s time was up it was no use to struggle against what was fated and one must just accept it. The huntsman was very impressed with his grace and wisdom. He then turned to Sumukha and asked why he had not fled with the other birds even though he was free to do so. Sumukha answered that the golden goose was his King, best friend and master and that he could never desert him even at the cost of his own life: Hearing this, the hunter realised that these were a couple of rare birds of great nobility. He did not much care for his own King’s reward and decided to do the right thing and set them free: He told Sumukha that as he was ready to die for his ing he would set them both free to fly wherever they wish.Why were the geese keen on visiting the lake in Benaras?
....

MCQ-> Read the following passage carefully and answer the question given below it, certain words are printed in the bold to help you to locate them while answering some of the questions.Once upon a time there lived a queen in the city of Benaras. Her name was Khema and she was the wife of king Bahuputtaka . One night, the Queen had a dream of a beautiful golden goose that spoke with great wisdom, almost as if he was a sage. She told her husband that she desperately wanted to see a bird just like the one in her dream. So the king asked his minister to find out all that they could about a bird such as this. He was told that such a bird did exist but was extremely rare and difficult to find. They advised him to build a beautiful lake on the outskirts of Benaras so that he may attract such rare and lovely creatures to reside there. In this way the queen might have her wish. Towards the north, on Mount Cittakuta, there lived about ninety thousand wild geese headed by a beautiful golden goose called king Dhatarattha. He got to hear of this exquisite lake surrounded by water lilies and lotuses floating on the surface. The king had invited all the birds to come and live on it, promising that none of them would ever be harmed. Corn was scattered on a daily basis in order to attract the birds. So a couple of geese went up to their king, the golden goose and told him that they were quite tired of living up on the mountains and would like to see this wonderful lake where they had been promised food and protection. The king agreed to their request and took the flock down south towards Benaras Meanwhile, at the lake king Bahuputtaka had placed hunters all around in order to capture any golden goose that happened to pass by. So the next morning when the headhunters saw this flock of geese approaching he was very excited to see their golden leader. He immediately went about setting up snare amongst the water lilies and lotuses, as he knew that the leader would definitely be the first to alight . The whole flock came flying down in one mighty swoop and as expected it was the king's foot that touched the water first. He was ensnared and could not escape, seeing this the other geese flew into a panic. But none had the courage to try to free their king and so flew back to Mount Cittacuta for safety. All except one. He was the chief captain, Sumukha replied that he would never desert his master in the face of danger and would either try to save him or die by his side. At this point the hunter approached and as Sumukha saw him he decided to appeal to his compassion. The hunter asked the golden goose how come he had not noticed the trap that was set. The golden goose replied that when one's time was up it was no use to struggle against what was fated and one must just accept it. The huntsman was very impressed with his grace and wisdom He then turned to Sumukha and asked why he had not fled with other birds even though he was free to do. Sumukha answered that the golden goose was his king best friend and master and that he could never desert him even at the cost of his own life. Hearing this, the hunter realised that these were a couple of rare birds of great nobility. He did not much care for his own king's reward and decided to do the right thing and set them free. He told Sumukha that as he was ready to die for his king he would set them both free to fly wherever they wish.Why were the geese keen on visiting the lake in Benaras ?
....

MCQ->Arrange the following words in their ascending order : 1. Millenium 2. Diamond Jubilee 3. Silver Jubilee 4. Centenary 5. Golden Jubilee....

MCQ-> One of the criteria by which we judge the vitality of a style of painting is its ability to renew itself- its responsiveness to the changing nature and quality of experience, the degree of conceptual and formal innovation that it exhibits. By this criterion, it would appear that the practice of abstractionism has failed to engage creatively with the radical change in human experience in recent decades. it has, seemingly, been unwilling to re-invent itself in relation to the systems of artistic expression and viewers’ expectations that have developed under the impact of the mass media. The judgement that abstractionism has slipped into ‘inertia gear’ is gaining endorsement, not only among discerning viewers and practitioners of other art forms, but also among abstract painters themselves. Like their companions elsewhere in the world, abstraction lists in India are asking themselves an overwhelming question today: Does abstractionism have a future? The major- crisis that abstractionists face is that of revitalising their picture surface; few have improvised any solutions beyond the ones that were exhausted by the I 970s. Like all revolutions, whether in politics or in art, abstractionism must now confront its moment of truth: having begun life as a new and radical pictorial approach to experience, it has become an entrenched orthodoxy itself. Indeed, when viewed against a historical situation in which a variety of subversive, interactive and richly hybrid forms are available to the art practitioner, abstractionism assumes the remote and defiant air of an aristocracy that has outlived its age; trammelled by formulaic conventions yet buttressed by a rhetoric of sacred mystery, it seems condemned to being the last citadel of the self-regarding ‘fine art’ tradition, the last hurrah of painting for painting’s sake. The situation is further complicated in India by the circumstances in which an indigenous abstractionism came into prominence here during the 1960s. From the beginning it was propelled by the dialectic between two motives, one revolutionary and the other conservative-it was inaugurated as an act of emancipation from the dogmas of the nascent Indian nation state, when an’ was officially viewed as an indulgence at worst, and at best, as an instrument for the celebration of the republic’s hopes and aspirations. Having rejected these dogmas, the pioneering abstractionists also went on to reject the various figurative styles associated with the Santiniketan circle and others. In such a situation, abstractionism was a revolutionary move, It led art towards the exploration of the s 3onsc)ous mind, the spiritual quest and the possible expansion of consciousness. Indian painting entered into a phase of self-inquiry, a meditative inner space where cosmic symbols and non-representational images ruled. Often, the transition from figurative idioms to abstractionist ones took place within the same artist. At the same time, Indian abstractionists have rarely committed themselves wholeheartedly to a nonrepresentational idiom. They have been preoccupied with the fundamentally metaphysical project of aspiring to the mystical- holy without altogether renouncing the symbolic) This has been sustained by a hereditary reluctance to give up the murti, the inviolable iconic form, which explains why abstractionism is marked by the conservative tendency to operate with images from the sacred repertoire of the past. Abstractionism thus entered India as a double-edged device in a complex cultural transaction. ideologically, it served as an internationalist legitimisation the emerging revolutionary local trends. However, on entry; it was conscripted to serve local artistic preoccupations a survey of indigenous abstractionism will show that its most obvious points of affinity with European and American abstract art were with the more mystically oriented of the major sources of abstractionist philosophy and practice, for instance the Kandinsky-Klee school. There have been no takers for Malevich’s Suprematism, which militantly rejected both the artistic forms of the past and the world of appearances, privileging the new- minted geometric symbol as an autonomous sign of the desire for infinity. Against this backdrop, we can identify three major abstractionist idioms in Indian art. The first develops from a love of the earth, and assumes the form of a celebration of the self’s dissolution in the cosmic panorama; the landscape is no longer a realistic, transcription of the scene, but is transformed into a visionary occasion for contemplating the cycles of decay and regeneration. The second idiom phrases its departures from symbolic and archetypal devices as invitations to heightened planes of awareness. Abstractionism begins with the establishment or dissolution of the motif, which can be drawn from diverse sources, including the hieroglyphic tablet, the Sufi meditation dance or the Tantrie diagram. The third- idiom is based on the lyric play of forms guided by gesture or allied with formal improvisations like the assemblage. Here, sometimes, the line dividing abstract image from patterned design or quasi-random expressive marking may blur. The flux of forms can also be regimented through the poetics of pure colour arrangements, vector-diagrammatic spaces anti gestural design. In this genealogy, some pure lines of descent follow their logic to the inevitable point of extinction, others engage in cross-fertilisation and yet others undergo mutation to maintain their energy. However, this genealogical survey demonstrates the wave at its crests, those points where the metaphysical and the painterly have been fused in images of abiding potency, ideas sensuously ordained rather than fabricated programmatically to a concept. It is equally possible to enumerate the troughs where the two principles do not come together, thus arriving at a very different account. Uncharitable as it may sound, the history of Indian abstractionism records a series of attempts to avoid the risks of abstraction by resorting to an overt and near-generic symbolism which many Indian abstractionists embrace when they find themselves bereft of the imaginative energy to negotiate the union of metaphysics and painterliness. Such symbolism falls into a dual trap: it succumbs to the pompous vacuity of pure metaphysics when the burden of intention is passed off as justification; or then it is desiccated by the arid formalism of pure painterliness, with delight in the measure of chance or pattern guiding the execution of a painting. The ensuing conflict of purpose stalls the progress of abstractionism in an impasse. The remarkable Indian abstractionists are precisely those who have overcome this and addressed themselves to the basic elements of their art with a decisive sense of independence from prior models. In their recent work, we see the logic of Indian abstractionism pushed almost to the furthest it can be taken. Beyond such artists stands a lost generation of abstractionists whose work invokes a wistful, delicate beauty but stops there. Abstractionism is not a universal language; it is an art that points up the loss of a shared language of signs in society. And yet, it affirms the possibility of its recovery through the effort of awareness. While its rhetoric has always emphasised a call for new forms of attention, abstractionist practice has tended to fall into a complacent pride in its own incomprehensibility; a complacency fatal in an ethos where vibrant new idioms compete for the viewers’ attention. Indian abstractionists ought to really return to basics, to reformulate and replenish their understanding of the nature of the relationship between the painted image and the world around it. But will they abandon their favourite conceptual habits and formal conventions, if this becomes necessary?Which one of the following is not stated by the author as a reason for abstractionism losing its vitality?
....

MCQ-> Choose the best answer for each question.The production of histories of India has become very frequent in recent years and may well call for some explanation. Why so many and why this one in particular? The reason is a two-fold one: changes in the Indian scene requiring a re-interpretation of the facts and changes in attitudes of historians about the essential elements of Indian history. These two considerations are in addition to the normal fact of fresh information, whether in the form of archeological discoveries throwing fresh light on an obscure period or culture, or the revelations caused by the opening of archives or the release of private papers. The changes in the Indian scene are too obvious to need emphasis. Only two generations ago British rule seemed to most Indian as well as British observers likely to extend into an indefinite future; now there is a teenage generation which knows nothing of it. Changes in the attitudes of historians have occurred everywhere, changes in attitudes to the content of the subject as well as to particular countries, but in India there have been some special features. Prior to the British, Indian historiographers were mostly Muslims, who relied, as in the case of Sayyid Ghulam Hussain, on their own recollection of events and on information from friends and men of affairs. Only a few like Abu’l Fazl had access to official papers. These were personal narratives of events, varying in value with the nature of the writer. The early British writers were officials. In the 18th century they were concerned with some aspect of Company policy, or like Robert Orme in his Military Transactions gave a straight narrative in what was essentially a continuation of the Muslim tradition. In the early 119th century the writers were still, with two notable exceptions, officials, but they were now engaged in chronicling, in varying moods of zest, pride, and awe, the rise of the British power in India to supremacy. The two exceptions were James Mill, with his critical attitude to the Company and John Marchman, the Baptist missionary. But they, like the officials, were anglo-centric in their attitude, so that the history of modern India in their hands came to be the history of the rise of the British in India.The official school dominated the writing of Indian history until we get the first professional historian’s approach. Ramsay Muir and P. E. Roberts in England and H. H. Dodwell in India. Then Indian historians trained in the English school joined in, of whom the most distinguished was Sir Jadunath Sarkar and the other notable writers: Surendranath Sen, Dr Radhakumud Mukherji, and Professor Nilakanta Sastri. They, it may be said, restored India to Indian history, but their bias was mainly political. Finally have come the nationalists who range from those who can find nothing good or true in the British to sophisticated historical philosophers like K. M. Panikker.Along the types of historians with their varying bias have gone changes in the attitude to the content of Indian history. Here Indian historians have been influenced both by their local situation and by changes of thought elsewhere. It is this field that this work can claim some attention since it seeks to break new ground, or perhaps to deepen a freshly turned furrow in the field of Indian history. The early official historians were content with the glamour and drama of political history from Plassey to the Mutiny, from Dupleix to the Sikhs. But when the raj was settled down, glamour departed from politics, and they turned to the less glorious but more solid ground of administration. Not how India was conquered but how it was governed was the theme of this school of historians. It found its archpriest in H. H. Dodwell, its priestess in Dame Lilian Penson, and its chief shrine in the Volume VI of the Cambridge History of India. Meanwhile, in Britain other currents were moving, which led historical study into the economic and social fields. R. C. Dutt entered the first of these currents with his Economic History of India to be followed more recently by the whole group of Indian economic historians. W. E. Moreland extended these studies to the Mughal Period. Social history is now being increasingly studied and there is also of course a school of nationalist historians who see modern Indian history in terms of the rise and the fulfillment of the national movement.All these approaches have value, but all share in the quality of being compartmental. It is not enough to remove political history from its pedestal of being the only kind of history worth having if it is merely to put other types of history in its place. Too exclusive an attention to economic, social, or administrative history can be as sterile and misleading as too much concentration on politics. A whole subject needs a whole treatment for understanding. A historian must dissect his subject into its elements and then fuse them together again into an integrated whole. The true history of a country must contain all the features just cited but must present them as parts of a single consistent theme.Which of the following may be the closest in meaning to the statement ‘restored India to Indian history’?
....