Which place is known as Sacred river ? ?->(Show Answer!)

1. Which place is known as Sacred river ?

Answer: Ganga

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MCQ-> DIRECTIONS for the following questions: These questions are based on the situation given below: A young girl Roopa leaves home with x flowers, goes to the bank of a nearby river. On the bank of the river, there are four places of worship, standing in a row. She dips all the x flowers into the river. The number of flowers doubles. Then she enters the first place of worship, offers y flowers to the deity. She dips the remaining flowers into the river, and again the number of flowers doubles. She goes to the second place of worship, offers y flowers to the deity. She dips the remaining flowers into the river, and again the number of flowers doubles. She goes to the third place of worship, offers y flowers to the deity. She dips the remaining flowers into the river, and again the number of flowers doubles. She goes to the fourth place of worship, offers y flowers to the deity. Now she is left with no flowers in hand.If Roopa leaves home with 30 flowers, the number of flowers she offers to each deity is:
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MCQ-> Read the following passage and answer the questions. Passage:Where is this going?' That is the question at the heart of River of Life, River of Death, as author Victor Mallet travels the length of the Ganges. Beginning at its ice cave source in the Himalayan foothills. he follows the water through the holy confluence at Allahabad. the spindly banks of Varanasi city and onwards to the delta in Bangladesh. where 'in its parting gift to the land. the river spews millions of tons of fertile silt on to the rice fields of Bengal and the mangroves of the Sundarbans.' It is the same question he asks about the treatment of the Ganges. both good and bad. The river leads a double life. being the most worshipped waterway in the world and also one of the most polluted. The Ganges and its tributaries are now subject to sewage pollution that is 'half a million times over the Indian recommended limit for bathing' in places. not to mention the unchecked runoff from heavy metals, fertilizers. carcinogens and the occasional corpse. As Mallet observes. the danger of contamination does not put off the millions of revellers at Kuinbh Mela. It is a Hindu pilgrimage 'thought to be the largest gathering of people anywhere'. described to him as 'a spiritual expo... where you will be talking one moment to a visiting Mumbai businessman and the next to a marijuana-stoned yogi. He suggests the pollution might never deter them. He is told by one bather: 'we do believe that anyone who takes in this water. he becomes pure also. because it is always pure.' There is a collective sense that the spirit of the Ganges is so sacred that she can never be spoiled. He informs the reader in the preface — 'almost everyone knows the problems are real'. His journey down the Ganges is one of investigation rather than discovery. Mallet investigates the potential of the river to become a cradle for antibiotic-resistant infections — or superbugs' — that could be exported to other regions by global travel. He points out that some 450 million people depend on the Ganges water basin for survival, and many more for its religious and cultural importance. The Ganges is a goddess and a mother to everyone from the politician in the north, to the humblest Hindu living in the far south or running a motel in the United States. There is hope. Mallet draws some parallels to clean-ups of the Rhine and the Thames. He points to the design feat of Ktunbh Mela, which as 'a pop-up megacity' for two million pilgrims has better infrastructure and waste treatment than many Indian cities. 'In the minds of both Indians and foreigners. this raises important questions... if the authorities can build infrastructure so efficiently for this short but very large festival why can they not do the same for permanent villages and towns?'Which ONE of the options fills in the blank and completes the statement below correctly? The average believer is of the faith-driven conviction that the river Ganges...

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?
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MCQ->Which of the following best explain why the lower course of a river is sometimes choked with sediments? The valley of a river is widest in its lower course. The velocity of a river in its lower course is low. The delta sometimes develops in a river's lower course Much of the river water is drawn for irrigation in the lower course. Select the correct answer using the code given below:...

MCQ->Statement: Drinking water supply to New Bombay has been suspended till further orders from Maharashtra Pollution Control Board following pollution of Patalganga river, caused by discharge of effluents from some chemical industries. Courses of Action: The industries responsible for discharging effluents into the river should be asked to close down immediately. The river water should immediately be treated chemically before resuming supply. The Pollution Control Board should check the nature of effluents being discharged into the river by industries at regular intervals.

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