Question map
With reference to the history of ancient India, Bhavabhuti, Hastimalla and Kshemeshvara were famous
Explanation
The correct answer is Option 2: playwrights.
During the early medieval period in India, literary arts flourished under various royal patronages. The individuals mentioned in the question are distinguished figures in the field of Sanskrit and Prakrit literature:
- Bhavabhuti: A renowned 8th-century scholar and poet, often ranked alongside Kalidasa. He was the court poet of King Yashovarman of Kannauj and is celebrated for masterpieces like Malatimadhava, Mahaviracharita, and Uttararamacharita.
- Hastimalla: A significant 13th-century Hoysala playwright known for his works like Vikrantakaurava and Maithilikalyana.
- Kshemeshvara: An 11th-century playwright from the court of King Mahipala, famous for the drama Chandakaushika.
Since their primary contributions lie in dramatic compositions and theatrical literature, they are classified as playwrights. They were neither Jain monks (though some wrote on Jain themes), temple architects, nor primarily known as philosophers, making options 1, 3, and 4 incorrect.
PROVENANCE & STUDY PATTERN
Full viewThis is a classic 'Anchor & Noise' question. Bhavabhuti is a Tier-1 static fact (Post-Gupta literature); the other two are obscure 'noise' designed to induce panic. The strategy is simple: Identify the one famous name, determine their profession, and assume the list is homogeneous. If you know Bhavabhuti wrote 'Uttararamacharita', the answer is Playwrights.
This question can be broken into the following sub-statements. Tap a statement sentence to jump into its detailed analysis.
- Statement 1: Were Bhavabhuti, Hastimalla and Kshemeshvara Jain monks in the history of ancient India?
- Statement 2: Were Bhavabhuti, Hastimalla and Kshemeshvara playwrights in the history of ancient India?
- Statement 3: Were Bhavabhuti, Hastimalla and Kshemeshvara temple architects in the history of ancient India?
- Statement 4: Were Bhavabhuti, Hastimalla and Kshemeshvara philosophers in the history of ancient India?
Snippet shows that specific named authors (Jinasena, Gunabhadra) were Jain writers and that rulers patronised Jain authors — indicating authorship can be associated with Jain monk identity.
A student could check whether Bhavabhuti, Hastimalla or Kshemeshvara are named as authors in Jain bibliographies or inscriptions like Jinasena/Gunabhadra were.
States that Jaina monks not only wrote religious treatises but also promoted secular literature — establishing a pattern that literary authorship can coincide with being a Jain monk.
Compare the genres and languages of works attributed to the three names with the typical corpus of Jain monk-authors to see if they match.
Notes royal patronage of Jain scholars (example: Ravikirti as a Jain scholar) and the building of Jain temples, showing that Jain scholars are documented in courtly records and inscriptions.
Search inscriptions, court records or regional literary histories from Chalukya-era or related regions for mentions of the three names to test Jain affiliation.
Describes Khāravela as a devout follower and the existence of caves developed for Jain monks, illustrating that Jain monastic presence is often archaeologically and epigraphically attested in regions.
Map the known regional activity or works of Bhavabhuti, Hastimalla and Kshemeshvara against archaeological/inscriptional Jain centers to see if their careers coincide with Jain monastic locales.
Explains distinct practices and social roles of Jain monks (vows, occupational restrictions), implying that identifying someone as a monk often relies on biographical details about lifestyle and vows.
Look for biographical statements (e.g., vows observed, monastic titles) in prefaces, colophons or hagiographies of works attributed to the three names to evaluate monkly status.
- Explicitly names Bhavabhuti as “one of the great playwrights” (8th century).
- Explicitly lists Kshemisvara among “Other major Sanskrit playwrights.”
- Passage does not mention Hastimalla, so it provides no support for that name.
Lists well-known classical dramatists (Kalidasa, Visakadatta, Sudraka) and names specific plays, showing a recognized tradition of playwrights in the classical/Gupta period.
A student could compare the named dramatists and their works with the three queried names in standard lists of Sanskrit playwrights or encyclopaedias of classical Indian literature to see if Bhavabhuti, Hastimalla or Kshemeshvara appear.
Mentions a specific dated play (Mudrarakshasa by Visakhadatta) and situates it in the Gupta period, indicating plays were composed and chronologically catalogued in historical sources.
Use the practice of dating and attributing plays to periods (as with Visakhadatta) to check whether works by the three names are similarly attested and dated in literary histories.
Arthashastra and period discussions note performing arts, bards, dance and theatre — showing institutional recognition of dramatic and theatrical activity in ancient India.
Given theatre was a recognized art-form, a student could search compendia of ancient Indian theatre and performance (and the Arthashastra tradition) for author-names like Bhavabhuti, Hastimalla and Kshemeshvara.
Shows royal patronage of Sanskrit and regional literature under medieval dynasties, implying that authors and literary figures were recorded and patronised across periods.
A student could use this pattern of patronage and literary record-keeping to look for inscriptions, court-lists or anthologies that might preserve names and works of playwrights such as the three in question.
This snippet shows that temple inscriptions sometimes record the name of the architect (Revadi Ovajja), demonstrating a pattern where individual designers/builders are named.
A student could search epigraphic records or local temple inscriptions for the names Bhavabhuti, Hastimalla or Kshemeshvara to see if they appear as credited architects.
Mahendravarman's Mandagappattu inscription claims authorship of temple construction, showing that inscriptions and royal records can identify who built or introduced temple types.
Use the known practice of recording builders in inscriptions to check contemporary or later inscriptions for the three names.
Discussion of large-scale temple-building by specific dynasties (Vijayanagar) and the emergence of named architectural styles implies organized workshops and identifiable architects/artisans.
Compare the geographical and chronological scope of major temple-building phases with the probable period/place of the three names to see if plausible matches exist.
Notes that rulers patronized temple construction and that major temples were associated with royal patronage, implying that architects were employed and sometimes recorded.
Investigate records of royal patronage (donative inscriptions, temple chronicles) for mentions of named architects including these three.
Describes regional building techniques and centres (Badami, Pattadakal, Aihole), indicating specific places where architects/stone-workers were active and might be named in local sources.
Cross-reference the three names with inscriptions or literary sources from known temple-building centres to test whether they are local architect names.
This snippet explicitly labels an individual (Acharya Kanad) as an 'ancient Indian philosopher' and describes his doctrinal work (Vaisheshika Sutras), showing that the sources treat certain named figures as philosophers when they authored systematic texts.
A student could look for whether Bhavabhuti, Hastimalla or Kshemeshvara are similarly named as authors of sutras, treatises, or systematic works in bibliographies or catalogues of Sanskrit literature to infer philosopher status.
This snippet highlights the sixth century BCE as a period of 'diverse systems of thought' (Buddhism, Jainism), establishing a pattern that ancient India produced distinct philosophical movements and identifiable thinkers.
One could check if the three names are associated with any identified 'system of thought' or school in chronological lists of thinkers from relevant regions/periods.
This passage shows that religious leaders (e.g., Ramanujar) are characterized as expounding formal philosophies (Vishistadvaita), indicating that devotional scholars are often recorded as philosophers in historical literature.
A student might search whether Bhavabhuti, Hastimalla or Kshemeshvara are described in similar sources as expounding a named philosophical doctrine or school.
This quiz-style snippet identifies individuals (Madhavacharya) by philosophical school (Dvaita, Advaita, etc.), showing that educational materials routinely classify historical figures by philosophical affiliation.
Using standard reference works or syllabi, a student could attempt to classify the three names into known schools or find their omission, which would help judge whether they are treated as philosophers.
The bibliography-like snippet cites works on 'Indian Philosophy' and histories of South Indian literature, indicating the existence of secondary sources that catalogue philosophers and literary figures.
A student could consult the referenced secondary sources (e.g., 'Indian Philosophy', histories of Tamil literature) to see if these three names appear as philosophical authors rather than only poets/dramatists.
- [THE VERDICT]: Sitter (if you know Bhavabhuti) / Trap (if you focus on Hastimalla). While the skeleton marks this as 'web-dependent', Bhavabhuti is standard static history (RS Sharma/Upinder Singh).
- [THE CONCEPTUAL TRIGGER]: Post-Gupta Sanskrit Literature & Court Patronage (c. 700–1000 CE). The shift from the 'Romance' of Kalidasa to the 'Pathos' of Bhavabhuti.
- [THE HORIZONTAL EXPANSION]: Memorize these 'Sibling Authors': Vishakhadatta (Mudrarakshasa), Shudraka (Mrichchhakatika), Bharavi (Kiratarjuniya), Magha (Shishupalavadha), and Rajasekhara (Kavyamimamsa).
- [THE STRATEGIC METACOGNITION]: The 'Homogeneity Heuristic'. In a list of three items (A, B, C), UPSC rarely mixes categories (e.g., 1 Architect + 2 Poets). If A is definitely a Playwright, the correct option is 'Playwrights'. Ignore B and C.
Jain monks produced major religious and secular works and served as authors and scholars.
High-yield for questions on religious literature and cultural history; helps identify authorship, sectarian affiliations of texts, and the language traditions of Jain writings. Mastery aids in assessing claims about whether a named individual was a monk based on literary connections.
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 8: Harsha and Rise of Regional Kingdoms > Literature > p. 114
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 3: Rise of Territorial Kingdoms and New Religious Sects > Life of Mahavira > p. 39
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 3: Rise of Territorial Kingdoms and New Religious Sects > Non-Violence > p. 40
Rulers and royal courts patronised Jain scholars, built temples, and endowed Jain centres, embedding Jain monks within political-cultural networks.
Essential for questions on religion–state relations, temple architecture, and cultural patronage; helps infer religious affiliations of persons or institutions by tracing patronage patterns and material remains.
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 8: Harsha and Rise of Regional Kingdoms > Literature > p. 114
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 9: Cultural Development in South India > Religion > p. 120
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 9: Cultural Development in South India > Aihole (Ayyavole) > p. 121
There were recorded conversions to and from Jainism and instances of violence and suppression against Jains in some regions.
Useful for analyzing social and sectarian dynamics in medieval India; helps evaluate claims about individual religious identities in contexts of conversion and persecution and connects to questions on religious competition and reform movements.
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 13: Cultural Syncretism: Bhakti Movement in India > Early Conflicts > p. 191
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 9: Cultural Development in South India > Society > p. 126
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 11: Later Cholas and Pandyas > 11,2.1 Pandya Revival (600 - 920) > p. 166
Kalidasa, Visakhadatta and Sudraka are identified with canonical dramas such as Sakuntalam, Mudrarakshasa and Mrichchhakatika, illustrating the corpus of classical Sanskrit theatre.
High-yield for questions on classical literature and cultural history: knowing key playwrights and their works helps answer culture, art and polity questions about the Gupta/classical age and link literary output to patronage and social values.
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 7: The Guptas > Secular Literature > p. 99
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 4: Emergence of State and Empire > Sources > p. 47
The notion of royal courts housing celebrated poets and 'navaratnas' (e.g., Samudragupta's court with Kalidasa) shows how kings fostered dramatic and literary production.
Useful for essays and mains answers linking political authority to cultural flourishing; helps frame questions on why literature thrived under certain rulers and how courts shaped intellectual life.
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 7: The Guptas > Secular Literature > p. 99
Ancient treatises and sources note performing arts—music, bards, dance and theatre—highlighting theatre's role in society and administration.
Enables candidates to connect primary texts (like Arthashastra) and cultural institutions when answering culture, society and administration questions; useful for both objective and descriptive parts of the exam.
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 4: Emergence of State and Empire > Art and Culture > p. 60
Temple wall inscriptions sometimes record the name of the architect who designed a shrine, providing direct individual attribution.
High-yield for UPSC: epigraphic names can confirm personal authorship of monuments and help solve questions on individual contributions versus royal patronage. Links to topics on epigraphy, temple patronage and primary-source analysis; useful for elimination in source-based and art-history questions.
- History , class XI (Tamilnadu state board 2024 ed.) > Chapter 9: Cultural Development in South India > Pattadakal > p. 121
Rajasekhara (Court poet of Gurjara-Pratiharas). He is the next logical 'literary figure' from this era likely to be tested. Key works: Karpuramanjari (Prakrit play) and Kavyamimamsa.
The 'Profession Profile' Hack. Philosophers in ancient India are usually associated with 'Sutras' or 'Bhashyas' (Commentaries), not plays. Architects are rarely named in lists unless they are from the Chola/Vesara tradition (e.g., Ravi-Kirti is a poet, not an architect). Since Bhavabhuti is famous for 'Malatimadhava' (a drama), 'Playwright' is the only logical fit.
Mains GS1 (Art & Culture): Use Bhavabhuti's 'Uttararamacharita' to argue how ancient Indian literature moved beyond 'Happy Endings' (typical of Natyashastra) to explore deep tragedy (Karuna Rasa), reflecting the evolving complexity of feudal society.