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Q54 (IAS/2018) History & Culture › Heritage & Misc Culture › Traditional arts and crafts Official Key

Consider the following pairs : Craft Heritage of 1. Puthukkuli shawls - Tamil Nadu 2. Sujni embroidery - Maharashtra 3. Uppada Jamdani saris - Karnataka Which of the pairs given above is/are correct ?

Result
Your answer: —  ·  Correct: A
Explanation

The correct answer is option A (1 only) because only the first pair is correctly matched.

Uppada Jamdani sarees are part of the craft heritage[2] of Andhra Pradesh, specifically from the East Godavari district[1], not Karnataka as stated in pair 3. Therefore, pair 3 is incorrect.

Sujni embroidery is traditionally associated with Bihar and not Maharashtra, making pair 2 incorrect as well.

Puthukkuli shawls are indeed part of Tamil Nadu's craft heritage, specifically from the Puthukkuli region, making pair 1 the only correct match among the three pairs given.

This question tests the aspirant's knowledge of India's diverse textile and craft traditions and their geographic origins, which is an important topic for understanding India's cultural heritage under the UPSC syllabus.

Sources
  1. [1] https://www.incredibleindia.gov.in/en/andhra-pradesh/uppada-jamdani-sarees
  2. [2] https://www.globalinch.org/craft-category/hand-spinning-khadi/page/13/
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Q. Consider the following pairs : Craft Heritage of 1. Puthukkuli shawls - Tamil Nadu 2. Sujni embroidery - Maharashtra 3. Uppada Jamdan…
At a glance
Origin: Mostly Current Affairs Fairness: Low / Borderline fairness Books / CA: 0/10 · 3.3/10

This question exposes the gap between standard NCERTs and the 'GI Tag' regime. While NCERTs mention broad categories, specific names like Puthukkuli or Sujni come from the GI Registry or CCRT lists. It is a 'List-Based' question requiring rote memorization of State-Craft pairs, specifically those in the news for GI status or cultural festivals.

How this question is built

This question can be broken into the following sub-statements. Tap a statement sentence to jump into its detailed analysis.

Statement 1
Is Puthukkuli shawl part of the craft heritage of Tamil Nadu?
Origin: Weak / unclear Fairness: Borderline / guessy
Indirect textbook clues
Geography of India ,Majid Husain, (McGrawHill 9th ed.) > Chapter 11: Industries > Others > p. 66
Strength: 3/5
“Needlework on cloths, especially on shawls is a speciality of the cottage industry in Kashmir, while Lucknow is famous for needlework on kurtas and appeals. In Tamil Nadu, cracker-making is an important cottage industry which has a great future.”
Why relevant

Identifies shawl needlework as a recognised regional craft in India (example: Kashmir) and contrasts with named cottage industries in Tamil Nadu.

How to extend

A student could use this pattern—shawls are regionally identified—to check whether Puthukkuli is listed as a regional shawl-producing centre (e.g., local craft surveys or GI/handicraft lists for Tamil Nadu).

Geography of India ,Majid Husain, (McGrawHill 9th ed.) > Chapter 11: Industries > Tamil Nadu > p. 15
Strength: 4/5
“Tamil Nadu has the largest number of cotton mills in the country. It is the third largest producer of cotton textile in the country. The largest number of mills are, however, in the city of Coimbatore which has over 200 small and big factories. Tamil Nadu's mills are however, smaller in size. This state produces about 45% of the total yarn of the country. Chennai, Madurai, Perambur, Salem, Tiruchirappalli, Tirunelveli, and Tuticorin are the other important cotton textile centres in the state.”
Why relevant

States Tamil Nadu is a major cotton/textile producer with many textile centres (Coimbatore, Tirunelveli, Salem, etc.), showing a strong regional textile tradition.

How to extend

Combine this with a map or directory to see if Puthukkuli lies within Tamil Nadu textile districts or near known weaving clusters, which would make shawl production plausible.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 5: Evolution of Society in South India > 5.6 Society and Economy > p. 69
Strength: 3/5
“Maduraikanchi speaks about day markets as well as night markets selling several craft goods. Raw materials for the production of various objects and ornaments were not available everywhere. Precious and semi-precious stones were collected, which were exchanged for other commodities. The names of persons mentioned in inscriptions on pottery reveal the presence of non-Tamil speakers, mostly traders, in certain craft centres and towns. Traders from faraway regions were present in the Tamil country. Manimegalai refers to Magadha artisans, Maratha mechanics, Malva smiths and Yavana carpenters working in co-operation with Tamil craftsmen. Trade-related terms such as vanikan, chattan and nigama appear in the Tamil-Brahmi inscriptions.”
Why relevant

Describes the existence of specialised craft centres and the movement of craftsmen and traders into the Tamil country, implying regional craft specialisations develop through trade and local centres.

How to extend

Use this rule to search for historical or contemporary craft centres named Puthukkuli or nearby towns to assess whether shawl weaving emerged there.

THEMES IN INDIAN HISTORY PART I, History CLASS XII (NCERT 2025 ed.) > Chapter 2: Kings, Farmers and Towns > The Malabar coast (present-day Kerala) > p. 44
Strength: 3/5
“Archaeological evidence of a bead-making industry, using precious and semi-precious stones, has been found in Kodumanal (Tamil Nadu). It is likely that local traders brought the stones mentioned in the Periplus from sites such as these to the coastal ports.”
Why relevant

Gives an example of a specialised ancient craft industry (bead-making in Kodumanal, Tamil Nadu), showing that Tamil Nadu has localized craft specializations with archaeological and historical evidence.

How to extend

Extend by checking whether Puthukkuli appears in regional craft histories, archaeological records, or local craft gazetteers as a specialised textile/shawl centre.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 1: Early India: From the Beginnings to the Indus Civilisation > Craft Production > p. 11
Strength: 3/5
“Craft production was an important part of the Harappan economy. Bead and ornament making, shell bangle making and metalworking were the major crafts. They made beads and ornaments out of carnelian, jasper, crystal, and steatite, metals like copper, bronze and gold, and shell, faience and terracotta or burnt clay. The beads were made in innumerable designs and decorations. Certain Harappan sites specialised in the production of certain craft materials. The following table presents the major centres of craft production. • Material: Shell; Site or Source: Nageshwar and Balakot • Material: Lapis lazuli; Site or Source: Shortughai • Material: Carnelian; Site or Source: Lothal • Material: Steatite; Site or Source: South Rajasthan • Material: Copper; Site or Source: Rajasthan and Oman”
Why relevant

Emphasises that craft production has been an important economic activity with specialised sites, suggesting modern craft specializations (like shawls) could be regionally identified.

How to extend

A student could apply this general principle to look for documentary evidence (handicraft lists, state board material, GI registrations) linking Puthukkuli to shawl-making in Tamil Nadu.

Statement 2
Is Sujni embroidery part of the craft heritage of Maharashtra?
Origin: Weak / unclear Fairness: Borderline / guessy
Indirect textbook clues
THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.) > Chapter 8: Peasants, Zamindars and the State > 2.3 Village artisans > p. 204
Strength: 5/5
“Another interesting aspect of the village was the elaborate relationship of exchange between different producers. Marathi documents and village surveys made in the early years of British rule have revealed the existence of substantial numbers of artisans, sometimes as high as 25 per cent of the total households in the villages. At times, however, the distinction between artisans and peasants in village society was a fluid one, as many groups performed the tasks of both. Cultivators and their families would also participate in craft production – such as dyeing, textile printing, baking and firing of pottery, making and repairing”
Why relevant

Mentions Marathi documents and village surveys showing substantial numbers of artisans in villages and fluid artisan/peasant roles.

How to extend

A student could use this to infer Maharashtra has a documented village craft tradition and then look up whether Sujni appears in such Marathi records or village artisan lists.

Geography of India ,Majid Husain, (McGrawHill 9th ed.) > Chapter 11: Industries > Maharashtra > p. 14
Strength: 4/5
“With 122 cotton textile mills in Maharashtra, this industry contributes about 39% of the total cloth production of the country. The city of Mumbai with 63 cotton mills is the largest producer of cotton in the country. The bulk production is in the form of light textured cloth, long cloth, shirting, domestics, sheets, dhotis, and coloured clothes. Due to the high concentration of cotton mills Mumbai is called the Cottonopolis of India. In Maharashtra, Sholapur is the second largest producer of cotton goods. It lies in the cotton growing area of south Maharashtra. Pune, Nagpur, Jalgaon, Akola, Sangli, Miraj, Kolhapur, Kalyan, and Thane are the other important cotton goods producing centres (Fig.”
Why relevant

Describes Maharashtra as a major producer of cotton goods with many textile-producing centres (Mumbai, Sholapur, Pune, etc.).

How to extend

Since Sujni is a textile/embroidery-related craft, a student could check if Sujni is practiced in these textile regions or linked to Maharashtra's cotton textile economy.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 4: Emergence of State and Empire > Crafts and Goods > p. 57
Strength: 3/5
“Many crafts producing a variety of manufactures flourished in the economy. We can categorise the products as utilitarian or functional, and luxurious and ornamental. Spinning and weaving, especially of cotton fabrics, relying on the universal availability. ٨ of cotton throughout India, were the most widespread occupations outside of agriculture. A great variety of cloth was produced in the country, ranging from the coarse fabrics used by the ordinary people for everyday use, to the very fine textures worn by the upper classes and the royalty. The Arthasastra refers to the regions producing specialised textiles - Kasi (Benares), Vanga (Bengal), Kamarupa (Assam), Madurai and many others.”
Why relevant

Notes that spinning and weaving (cotton textiles) were widespread across India and that various regions produced specialised textiles.

How to extend

Use the pattern that regions often have specialised textile crafts to investigate whether Sujni is regionally specialised in Maharashtra or elsewhere.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 2: Early India: The Chalcolithic, Megalithic, Iron Age and Vedic Cultures > Craft Production > p. 29
Strength: 2/5
“Arts and crafts proliferated during the Later Vedic age, and craft specialization took deep roots. This was compared to the early Vedic period, since more occupational groups are mentioned in this period. Evidence of iron work is noticed from about 1200 BCE. Metals such as copper, tin, gold, bronze, and lead are mentioned. These metals were smelted and worked by specialized groups. The copper objects were used for making weapons for war and hunting. Weaving was undertaken by women. 11th_History_English_Medium_History_Unit_2.indd_29”
Why relevant

States weaving was undertaken by women and craft specialisation deepened in later Vedic/early historic periods, showing gendered continuity in textile crafts.

How to extend

A student could consider gendered patterns of textile craft transmission and ask whether Sujni (an embroidery form) is carried by similar women-led traditions in Maharashtra.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 4: Emergence of State and Empire > Crafts and Goods > p. 58
Strength: 2/5
“Sanchi Stupa A whole range of luxury goods was produced, including gold and silver articles, jewellery, perfumes and carved ivory. There is evidence that many other products like drugs and medicines, pottery, dyes and gums were produced in the Mauryan Empire. The economy had thus developed far beyond subsistence production to a very sophisticated level of commercial craft production. Crafts were predominantly urban-based hereditary occupations and sons usually followed their fathers in the practice of various crafts. Craftsmen worked primarily as individuals, though royal workshops for producing cloth and other products also existed. Each craft had a head called pamukha (pramukha or leader) and a jettha (jyeshtha or elder), and was organised in a seni (srenior a guild), so that the institutional identity superseded the individual in craft production.”
Why relevant

Explains crafts were organised institutionally (guilds, hereditary occupations) in historical Indian polities.

How to extend

One could extend this to check whether Sujni has historically recognised craft communities or guild links in Maharashtra.

Statement 3
Are Uppada Jamdani saris part of the craft heritage of Karnataka?
Origin: Web / Current Affairs Fairness: CA heavy Web-answerable

Web source
Presence: 5/5
"showcasing Andhra Pradesh weavers' skill and artistry. Uppada Jamdani weavess represent an irreplaceable treasure in Andhra Pradesh and stand as an icon of its textile history."
Why this source?
  • Explicitly links Uppada Jamdani sarees to Andhra Pradesh and its weaving community.
  • Describes Uppada Jamdani as an icon/treasure of Andhra Pradesh's textile history, implying regional attribution to Andhra Pradesh (not Karnataka).
Web source
Presence: 5/5
"in the East Godavari district of Andhra Pradesh. It is known for its light weight and reversible design—after weaving the design appears on both the sides."
Why this source?
  • Identifies Uppada as being in the East Godavari district of Andhra Pradesh.
  • Describes the Uppada Jamdani saree weaving (features and materials), tying the craft to Andhra Pradesh geographically.

Exploring Society:India and Beyond. Social Science-Class VI . NCERT(Revised ed 2025) > Chapter 8: Unity in Diversity, or 'Many in the One' > Textiles and Clothing > p. 128
Strength: 5/5
“Every region and community in India has developed its own styles of clothing and dresses. Yet, we notice a commonality in some traditional Indian dresses, irrespective of the material used. An obvious example is the plain length of cloth called the sari, a type of clothing worn in most parts of India and made from different fabrics — mostly cotton or silk, but nowadays synthetic fabrics too. Banarasi, Kanjivaram, Paithani, Patan Patola, Muga or Mysore are some of the famous types of silk saris. There are many more kinds of cotton saris. Altogether, this unstitched piece of cloth comes in hundreds of varieties.”
Why relevant

Lists named sari types tied to places (e.g., Banarasi, Kanjivaram, Mysore), implying saris are often region-specific craft traditions.

How to extend

A student could check whether 'Uppada Jamdani' is similarly place‑named and then locate Uppada on a map to see if it lies in Karnataka or another state.

India and the Contemporary World – II. History-Class X . NCERT(Revised ed 2025) > Chapter 4: The Age of Industrialisation > New words > p. 99
Strength: 4/5
“Moreover, as you have seen, mills could not imitate specialised weaves. Saris with woven borders, or the famous lungis and handkerchiefs of Madras, could not be easily displaced by mill production. Weavers and other craftspeople who continued to expand production through the twentieth century, did not necessarily prosper. They lived hard lives and worked long hours. Very often the entire household – including all the women and children – had to work at various stages of the production process. But they were not simply remnants of past times in the age of factories. Their life and labour was integral to the process of industrialisation.”
Why relevant

Notes that specialised weaves and sari styles are distinctive and not easily reproduced by mills, showing that particular sari weaves constitute identifiable craft heritage.

How to extend

Use this rule to treat 'Uppada Jamdani' as a specialised weave and then verify its regional origin against a map or regional craft lists.

Exploring Society:India and Beyond. Social Science-Class VI . NCERT(Revised ed 2025) > Chapter 8: Unity in Diversity, or 'Many in the One' > Textiles and Clothing > p. 129
Strength: 4/5
“produced by different methods of weaving (Fig. 8.3 on the right) and designing. Some designs are part of the cloth, while others are printed after the cloth is woven. Finally, there are endless variations in the colours, which are produced from many kinds of pigments. The sari has a long history. This stone relief (Fig. 8.2 on page 128) from Vaiśhali (today in Bihar) goes back a few centuries BCE.”
Why relevant

Explains the sari has many local historical forms and regional continuity, reinforcing that sari types are cultural markers tied to specific areas.

How to extend

Combine this with knowledge of where Uppada Jamdani is produced to infer whether it belongs to Karnataka's traditions or another region.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 4: Emergence of State and Empire > Crafts and Goods > p. 58
Strength: 3/5
“Sanchi Stupa A whole range of luxury goods was produced, including gold and silver articles, jewellery, perfumes and carved ivory. There is evidence that many other products like drugs and medicines, pottery, dyes and gums were produced in the Mauryan Empire. The economy had thus developed far beyond subsistence production to a very sophisticated level of commercial craft production. Crafts were predominantly urban-based hereditary occupations and sons usually followed their fathers in the practice of various crafts. Craftsmen worked primarily as individuals, though royal workshops for producing cloth and other products also existed. Each craft had a head called pamukha (pramukha or leader) and a jettha (jyeshtha or elder), and was organised in a seni (srenior a guild), so that the institutional identity superseded the individual in craft production.”
Why relevant

Describes crafts as predominantly urban‑based, hereditary and regionally organised (guilds, leaders), suggesting craft forms are rooted in particular local communities.

How to extend

A student could investigate whether Uppada Jamdani has a hereditary/local weaving community located in Karnataka or elsewhere.

Science-Class VII . NCERT(Revised ed 2025) > Chapter 11: Light: Shadows and Reflections > FASCINATING FACTS > p. 159
Strength: 3/5
“Shadow play, or shadow puppetry, has been a part of our cultural heritage for centuries. In this art form, fl at cut-out fi gures called shadow puppets are placed between a light source and a screen. By moving the puppets and the light, puppeteers can create life-like movements, bringing the characters to life. Diff erent regions have their own unique styles, like the Charma Bahuli Natya in Maharashtra, Keelu Bomme and Tholu Bommalata of Andhra Pradesh, Togalu Gombeyaata in Karnataka, Ravana Chhaya in Odisha, Tholpavakoothu in Kerala, and Bommalattam in Tamil Nadu. These are used not only for entertainment but also communicate important messages to the community.”
Why relevant

Gives examples of distinct regional cultural artifacts (e.g., Togalu Gombeyaata in Karnataka), showing educational sources classify crafts by state/region.

How to extend

Use such state-based classification to look for Uppada Jamdani in lists of state crafts—if not listed under Karnataka, it likely belongs to another state.

Pattern takeaway: UPSC loves 'Sound-alike' and 'Neighbor-State' traps. Sujni (Bihar) sounds like Sozni (Kashmir). Uppada is South Indian, so Karnataka is a plausible but incorrect distractor (it is Andhra). The strategy is to verify the linguistic roots of the craft name.
How you should have studied
  1. [THE VERDICT]: Bouncer for static-only students; Sitter for GI-Tag trackers. Source: GI Registry updates or CCRT website.
  2. [THE CONCEPTUAL TRIGGER]: Art & Culture > Regional Handicrafts & Geographical Indications (GI).
  3. [THE HORIZONTAL EXPANSION]: Memorize these specific confusions: Sujni (Bihar) vs Sozni (Kashmir); Kasuti (Karnataka) vs Kantha (West Bengal); Pochampally (Telangana) vs Patan Patola (Gujarat); Toda Embroidery (Tamil Nadu).
  4. [THE STRATEGIC METACOGNITION]: Do not just memorize the name; map it to the *community* or *geography*. Puthukkuli = Toda Tribe = Nilgiris = TN. Uppada = Coastal Andhra. Visualizing the map eliminates the 'neighboring state' trap.
Concept hooks from this question
📌 Adjacent topic to master
S1
👉 Regional specialization in cottage industries
💡 The insight

References show crafts are regionally specialised (e.g., shawl needlework in Kashmir vs cracker-making in Tamil Nadu).

High-yield for geography/economy questions: knowing which states specialise in which cottage/handicraft industries helps eliminate distractors in MCQs and frame short-answer responses; link these pairs to resources, culture and local demand. Revise as a list of state–craft associations and examples.

📚 Reading List :
  • Geography of India ,Majid Husain, (McGrawHill 9th ed.) > Chapter 11: Industries > Others > p. 66
  • Geography of India ,Majid Husain, (McGrawHill 9th ed.) > Chapter 11: Industries > Tamil Nadu > p. 15
🔗 Anchor: "Is Puthukkuli shawl part of the craft heritage of Tamil Nadu?"
📌 Adjacent topic to master
S1
👉 Textile and craft centres of Tamil Nadu
💡 The insight

Evidence names Tamil Nadu textile centres (Coimbatore, Chennai, Madurai, etc.), which is relevant when assessing whether a specific textile (like a shawl) originates there.

Useful for questions on industrial geography and regional economies: connect modern textile hubs with traditional crafts to judge continuity/change; prepare by mapping major towns to industries and noting where traditional crafts are absent or prominent.

📚 Reading List :
  • Geography of India ,Majid Husain, (McGrawHill 9th ed.) > Chapter 11: Industries > Tamil Nadu > p. 15
  • Geography of India ,Majid Husain, (McGrawHill 9th ed.) > Chapter 11: Industries > Others > p. 66
🔗 Anchor: "Is Puthukkuli shawl part of the craft heritage of Tamil Nadu?"
📌 Adjacent topic to master
S1
👉 Historical craft production and trade networks in Tamil country
💡 The insight

Sources discuss craft markets, specialised craft centres and presence of diverse artisans and traders in Tamil regions, which frames where crafts historically developed.

Important for history and economic development questions: helps answer why certain crafts emerged locally, their trade links and artisanal exchanges; study primary literary/archaeological references and tie them to craft specialisation patterns.

📚 Reading List :
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 5: Evolution of Society in South India > 5.6 Society and Economy > p. 69
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 1: Early India: From the Beginnings to the Indus Civilisation > Craft Production > p. 11
🔗 Anchor: "Is Puthukkuli shawl part of the craft heritage of Tamil Nadu?"
📌 Adjacent topic to master
S2
👉 Role of village artisans in Maharashtra's craft landscape
💡 The insight

Marathi documents and village surveys note substantial numbers of artisans in villages of Maharashtra — relevant when judging whether a specific embroidery tradition may be rooted in rural artisan communities.

High-yield for UPSC: helps link primary/local documentary evidence to questions on craft origins and cultural heritage; connects social history, rural economy and craft distribution. Useful for questions asking how to attribute cultural practices to regions using archival/village evidence.

📚 Reading List :
  • THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.) > Chapter 8: Peasants, Zamindars and the State > 2.3 Village artisans > p. 204
🔗 Anchor: "Is Sujni embroidery part of the craft heritage of Maharashtra?"
📌 Adjacent topic to master
S2
👉 Distinction between industrial textile production and traditional textile crafts
💡 The insight

Sources show Maharashtra as a major centre of cotton textile mills and bulk cloth production, which is a different strand from small-scale hand-embroidery traditions like Sujni.

Important for aspirants to separate industrial geography from handicraft heritage when answering questions on regional crafts, policy impacts, and economic history; links industry/location topics with craft continuity and livelihoods.

📚 Reading List :
  • Geography of India ,Majid Husain, (McGrawHill 9th ed.) > Chapter 11: Industries > Maharashtra > p. 13
  • Geography of India ,Majid Husain, (McGrawHill 9th ed.) > Chapter 11: Industries > Maharashtra > p. 14
🔗 Anchor: "Is Sujni embroidery part of the craft heritage of Maharashtra?"
📌 Adjacent topic to master
S2
👉 Historical craft specialization & weaving traditions in India
💡 The insight

Evidence on weaving and craft specialisation in historical sources provides context to evaluate whether an embroidery style is part of longer textile traditions in a region.

Helps frame answers that require connecting present-day crafts to historical patterns (craft guilds, specialization, textile regions); useful across cultural history and material culture questions.

📚 Reading List :
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 4: Emergence of State and Empire > Crafts and Goods > p. 57
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 2: Early India: The Chalcolithic, Megalithic, Iron Age and Vedic Cultures > Craft Production > p. 29
🔗 Anchor: "Is Sujni embroidery part of the craft heritage of Maharashtra?"
📌 Adjacent topic to master
S3
👉 Regional varieties of saris
💡 The insight

References list well-known sari types (e.g., Banarasi, Kanjivaram, Paithani, Patan Patola, Muga, Mysore) and note the sari's regional variations and history.

High-yield for cultural geography and art-culture questions: helps identify state-specific textile traditions and distinguish origins of named saris. Connects to questions on regional craft identity, textile economies, and cultural diversity; learn by mapping famous sari names to states and production centres.

📚 Reading List :
  • Exploring Society:India and Beyond. Social Science-Class VI . NCERT(Revised ed 2025) > Chapter 8: Unity in Diversity, or 'Many in the One' > Textiles and Clothing > p. 128
  • Exploring Society:India and Beyond. Social Science-Class VI . NCERT(Revised ed 2025) > Chapter 8: Unity in Diversity, or 'Many in the One' > Textiles and Clothing > p. 129
🔗 Anchor: "Are Uppada Jamdani saris part of the craft heritage of Karnataka?"
🌑 The Hidden Trap

The 'Sujni' vs 'Sozni' trap. Sujni is quilting from Bihar; Sozni is fine needlework from Kashmir. UPSC often swaps these phonetically similar terms to confuse aspirants.

⚡ Elimination Cheat Code

Use Linguistic Intuition. 'Uppada' is a distinct Telugu place name (Andhra Pradesh). 'Jamdani' is historically linked to the Bengal-Andhra corridor. Karnataka is unlikely. If 3 is wrong, Options C and D are eliminated. You are left with A vs B. 'Sujni' is a Hindi-belt term (Bihar), whereas Maharashtra is known for Paithani or Himroo. Thus, 2 is likely wrong.

🔗 Mains Connection

Connect to **Tribal Development (GS2)** and **Inclusive Growth (GS3)**. Puthukkuli is the exclusive livelihood of the Toda tribe (a PVTG in Nilgiris). Preserving this craft is directly linked to protecting PVTG heritage and economy.

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