Question : Comprehension:

Read the given passage and answer the questions that follow.

Blue Pottery is widely recognised as a traditional craft of Jaipur, though it is Turko-Persian in origin. The name 'blue pottery' comes from the eye-catching cobalt blue dye used to colour the pottery. It is relatively unusual as a type of luxury Indian pottery as most Indian types are functional and though often highly decorated, relatively low prestige wares. Jaipur blue pottery is glazed and low-fired. No clay is used: the 'dough' for the pottery is prepared by mixing quartz stone powder, powdered glass, fuller's earth, borax, gum and water.

Some of this pottery is semi-transparent and mostly decorated with bird and animal motifs. Being fired at very low temperatures makes them fragile. The range of items is primarily decorative, such as vases, coasters, small bowls, and boxes for trinkets. The colour palette is restricted to blue derived from the cobalt oxide, green from the copper oxide and white, though other non-conventional colours, such as yellow and brown, are sometimes included. The use of blue glaze on pottery is an imported technique, first developed by artisans who combined Chinese glazing technology with Persian decorative arts. This technique travelled east to India with early Turkic conquests in the 14th century. During its infancy, it was used to make tiles to decorate mosques, tombs and palaces in Central Asia. Later, following their conquests and arrival in India, the Mughals began using them in India. Gradually the blue glaze technique grew beyond an architectural accessory to Indian potters. From there, the technique travelled to the plains of Delhi and in the 17th century went to Jaipur.

Other accounts of the craft state that blue pottery came to Jaipur in the early 19th century under the ruler Sawai Ram Singh II. The Jaipur king had sent local artisans to Delhi to be trained in the craft. However, by the 1950s, blue pottery had all but vanished from Jaipur, when it was re-introduced through the efforts of the muralist and painter Kripal Singh Shekhawat, with the support of patrons such as Kamladevi Chattopadhaya and Rajmata Gayatri Devi.

Question:

 Which of the following statements is NOT true?

Option 1: Rajmata Gayatri Devi patronised the craft of blue pottery.

Option 2: The green colour used in blue pottery is obtained from copper oxide.

Option 3: The blue glaze technique was used to embellish mosques and tombs.

Option 4: Blue pottery is fired at a low temperature for strength.

Question : Comprehension:

Read the given passage and answer the questions that follow.

Blue Pottery is widely recognised as a traditional craft of Jaipur, though it is Turko-Persian in origin. The name 'blue pottery' comes from the eye-catching cobalt blue dye used to colour the pottery. It is relatively unusual as a type of luxury Indian pottery as most Indian types are functional and though often highly decorated, relatively low prestige wares. Jaipur blue pottery is glazed and low-fired. No clay is used: the 'dough' for the pottery is prepared by mixing quartz stone powder, powdered glass, fuller's earth, borax, gum and water.

Some of this pottery is semi-transparent and mostly decorated with bird and animal motifs. Being fired at very low temperatures makes them fragile. The range of items is primarily decorative, such as vases, coasters, small bowls, and boxes for trinkets. The colour palette is restricted to blue derived from the cobalt oxide, green from the copper oxide and white, though other non-conventional colours, such as yellow and brown, are sometimes included. The use of blue glaze on pottery is an imported technique, first developed by artisans who combined Chinese glazing technology with Persian decorative arts. This technique travelled east to India with early Turkic conquests in the 14th century. During its infancy, it was used to make tiles to decorate mosques, tombs and palaces in Central Asia. Later, following their conquests and arrival in India, the Mughals began using them in India. Gradually the blue glaze technique grew beyond an architectural accessory to Indian potters. From there, the technique travelled to the plains of Delhi and in the 17th century went to Jaipur.

Other accounts of the craft state that blue pottery came to Jaipur in the early 19th century under the ruler Sawai Ram Singh II. The Jaipur king had sent local artisans to Delhi to be trained in the craft. However, by the 1950s, blue pottery had all but vanished from Jaipur, when it was re-introduced through the efforts of the muralist and painter Kripal Singh Shekhawat, with the support of patrons such as Kamladevi Chattopadhaya and Rajmata Gayatri Devi.

Question:

Which of the following is NOT used to make the Jaipur blue pottery?

Option 1: Clay

Option 2: Glass

Option 3: Gum

Option 4: Borax

Question : Comprehension:

Read the given passage and answer the questions that follow.

Blue Pottery is widely recognised as a traditional craft of Jaipur, though it is Turko-Persian in origin. The name 'blue pottery' comes from the eye-catching cobalt blue dye used to colour the pottery. It is relatively unusual as a type of luxury Indian pottery as most Indian types are functional and though often highly decorated, relatively low prestige wares. Jaipur blue pottery is glazed and low-fired. No clay is used: the 'dough' for the pottery is prepared by mixing quartz stone powder, powdered glass, fuller's earth, borax, gum and water.

Some of this pottery is semi-transparent and mostly decorated with bird and animal motifs. Being fired at very low temperatures makes them fragile. The range of items is primarily decorative, such as vases, coasters, small bowls, and boxes for trinkets. The colour palette is restricted to blue derived from the cobalt oxide, green from the copper oxide and white, though other non-conventional colours, such as yellow and brown, are sometimes included. The use of blue glaze on pottery is an imported technique, first developed by artisans who combined Chinese glazing technology with Persian decorative arts. This technique travelled east to India with early Turkic conquests in the 14th century. During its infancy, it was used to make tiles to decorate mosques, tombs and palaces in Central Asia. Later, following their conquests and arrival in India, the Mughals began using them in India. Gradually the blue glaze technique grew beyond an architectural accessory to Indian potters. From there, the technique travelled to the plains of Delhi and in the 17th century went to Jaipur.

Other accounts of the craft state that blue pottery came to Jaipur in the early 19th century under the ruler Sawai Ram Singh II. The Jaipur king had sent local artisans to Delhi to be trained in the craft. However, by the 1950s, blue pottery had all but vanished from Jaipur, when it was re-introduced through the efforts of the muralist and painter Kripal Singh Shekhawat, with the support of patrons such as Kamladevi Chattopadhaya and Rajmata Gayatri Devi.

Question:

The technology of glazing was adopted from the:

Option 1: Persians

Option 2: Turks

Option 3: Mughals

Option 4: Chinese

Question : Comprehension:

Read the given passage and answer the questions that follow.

Blue Pottery is widely recognised as a traditional craft of Jaipur, though it is Turko-Persian in origin. The name 'blue pottery' comes from the eye-catching cobalt blue dye used to colour the pottery. It is relatively unusual as a type of luxury Indian pottery as most Indian types are functional and though often highly decorated, relatively low prestige wares. Jaipur blue pottery is glazed and low-fired. No clay is used: the 'dough' for the pottery is prepared by mixing quartz stone powder, powdered glass, fuller's earth, borax, gum and water.

Some of this pottery is semi-transparent and mostly decorated with bird and animal motifs. Being fired at very low temperatures makes them fragile. The range of items is primarily decorative, such as vases, coasters, small bowls, and boxes for trinkets. The colour palette is restricted to blue derived from the cobalt oxide, green from the copper oxide and white, though other non-conventional colours, such as yellow and brown, are sometimes included. The use of blue glaze on pottery is an imported technique, first developed by artisans who combined Chinese glazing technology with Persian decorative arts. This technique travelled east to India with early Turkic conquests in the 14th century. During its infancy, it was used to make tiles to decorate mosques, tombs and palaces in Central Asia. Later, following their conquests and arrival in India, the Mughals began using them in India. Gradually the blue glaze technique grew beyond an architectural accessory to Indian potters. From there, the technique travelled to the plains of Delhi and in the 17th century went to Jaipur.

Other accounts of the craft state that blue pottery came to Jaipur in the early 19th century under the ruler Sawai Ram Singh II. The Jaipur king had sent local artisans to Delhi to be trained in the craft. However, by the 1950s, blue pottery had all but vanished from Jaipur, when it was re-introduced through the efforts of the muralist and painter Kripal Singh Shekhawat, with the support of patrons such as Kamladevi Chattopadhaya and Rajmata Gayatri Devi.

Question:

Blue pottery is different from the usual Indian pottery because it is:

Option 1: a luxury, high prestige pottery

Option 2: not functional or decorative

Option 3: fragile and low priced

Option 4: decorated with bird and animal motifs

Question : Directions: Three statements are given, followed by four conclusions numbered I, II, III, and IV. Assuming the statements to be true, even if they seem to be at variance with commonly known facts, decide which of the conclusions logically follow(s) from the statements.
Statements:
No blue is red.
Some green are red.
All yellow is green.
Conclusions:
I. Some yellow are red.
II. No yellow is red.
III. Some green are blue.
IV. No green is blue.

Option 1: Only conclusions I and IV follow

Option 2: Only conclusions I and II follow

Option 3: Only conclusions III and IV follow

Option 4: None of the conclusions follow