With reference to cultural history of India, consider the following statements : 1. Most of the Tyagaraja Kritis are devotional songs in praise of Lord Krishna. 2. Tyagaraja created several new ragas. 3. Annamacharya and Tyagaraja are contemporaries. 4. Annamacharya kirtanas are devotional songs in praise of Lord Venkateshwara. Which of the statements given above are correct ?

States that the Alvars composed many hymns addressed to Vishnu and that the themes are mostly Krishna's childhood, showing a pattern of bhakti poets focusing their songs on Krishna.

A student could infer that in South Indian Vaishnava song traditions many composers favored Krishna and therefore check whether Tyagaraja, as a South Indian devotional composer, followed this pattern by examining dedications or themes of his Kritis.

Explains that early South Indian bhakti (Alvars) involved singing hymns in praise of Vishnu, indicating a long-standing regional pattern of composing devotional songs to Vishnu-related deities.

Use this regional pattern (Vaishnava hymn tradition) as background to hypothesize that a major Carnatic composer from the same cultural milieu might have many Vaishnava/Krishna pieces, then check Tyagaraja's corpus for subject matter.

Notes that singing compositions of poet-saints became part of temple rituals at shrines and that such saints were associated with chosen deities, showing composers often focused on a primary deity.

A student could look for temple associations or patron deity links for Tyagaraja (e.g., if he was linked to a Vishnu/Krishna shrine) to predict whether many Kritis praise Krishna.

Describes the long bhakti tradition across centuries where saints composed devotional songs in vernaculars, a general rule that devotional composers produced many songs addressed to particular gods.

Apply this general rule to Tyagaraja: as a bhakti-era-style composer, he may have composed primarily devotional kritis to a favored deity; verify by sampling titles/lyrics of his works.

Gives the example of Namadeva, a bhakti poet who wrote many songs (abhangs) in praise of Vithala, illustrating that individual bhakti saints often produced large corpora centered on one deity.

By analogy, a student could test whether Tyagaraja's corpus similarly concentrates on a single deity (Krishna) by checking the extent of devotion-specific compositions in his repertoire.

Notes that certain South Indian periods saw 'great advancements in the field of culture and literature' and 'broke new grounds' in cultural areas, implying creative activity in the arts.

A student could combine this general pattern (periods of cultural flowering in South India) with standard facts about Carnatic music's geographic roots to see if Tyagaraja, a South Indian composer, might have been innovating musically.

Describes incorporation of Tamil bhakti ideas into Sanskritic tradition and composition of major devotional works (e.g., Bhagavata Purana), showing that devotional literature influenced new artistic/literary creations.

One could extend this pattern to ask whether bhakti composers (like Tyagaraja, known as a devotional composer) also introduced new musical forms or ragas as part of devotional innovation.

Points out the prominence of Tamil bhakti hymns and poets, indicating a strong regional tradition of devotional composition that often stimulated artistic developments.

Using this, a student might check histories of Tamil/South Indian musical practice to see if devotional poets/composers are credited with creating new ragas.

States that the visions of bhakti poets (Nayanars) 'inspired artists' and that royal patronage fostered temple arts, suggesting composers could influence musical repertory and innovations.

A student could reasonably investigate whether influential devotional composers in this milieu (like Tyagaraja) contributed new melodic frameworks (ragas) used in temple and concert music.

Describes distinctive regional originality in Deccan and Tamil art and architecture, implying cultural autonomy that could extend to distinctive regional musical developments.

One could use this rule of regional originality to ask whether prominent local composers (Tyagaraja in South India) developed new ragas unique to the Carnatic tradition.

Explains a chronology of devotional composition in north India and highlights that large-scale bhakti compositions are tied to particular historical periods.

A student could use this rule — that major devotional corpora are often datable to specific eras — and compare known active periods of Annamacharya and Tyagaraja against era markers to test contemporaneity.

Notes the Chola period (9th–13th c.) as a time of royal patronage for bhakti traditions and production of major devotional art and compositions.

One can place any composer by checking whether their works/mentioning correspond to Chola-era patronage patterns or to later/earlier political contexts to rule in/out contemporaneity.

Gives a broad timeline for South Indian history (from 3rd century BCE onward) and indicates that reliable literary/inscriptive dating is possible from certain periods.

A student can use this dating framework as a backbone: locate each composer’s references/inscriptions/literary mentions within this timeline to check overlap.

Shows the same surname 'Tyagaraja' occurring in a 1917 political context (P. Tyagaraja), suggesting the name persisted into modern times and warning that identical names can belong to different historical persons.

A student should disambiguate persons with the same name by checking contextual clues (occupation, dates) in secondary sources before assuming contemporaneity.