Ranthambore Fort (Sawai Madhopur) is a very strong hill and forest fort built by the Chauhan rulers in the 8th century. Seeing the natural defensive position and impenetrability of this fort, Abul Fazal called it 'armored fort'. In this fort complex, Hammir Mahal, Rani Mahal, Supari Mahal (where the coordination of temple, mosque and church is visible), Chhatri of Justice with 32 pillars (built by Hammir Dev in the memory of father Jaitra Singh), Jogi Mahal, Dargah of Pir Sadruddin and the famous Trinetra Ganesh temple are located. Siwana Fort is situated on Chhappan Hill in Barmer (Balotra), while Kumbhalgarh is situated in Rajsamand and Taragarh is situated in Ajmer.

Statements A, B and C are completely correct about Chittorgarh Fort, while statement D is incorrect. According to 'Veer Vinod' written by Kaviraja Shyamaldas, this fort was built by the Maurya king Chitrangada Maurya and it was named 'Chitrakoot'. In the 8th century, Bappa Rawal, the founder of the Guhil dynasty, captured Chittor by defeating the last Maurya ruler Manmori. This fort is built on a mesa plateau about 1850 feet high above sea level, near the confluence of Gambhiri and Bedach rivers. After conquering Chittor in 1303 AD, Alauddin Khilji named it 'Khizrabad' after his son Khizr Khan, while Mahmud Khilji I named it 'Mustafabad' for Gagron Fort.

Siwana Fort is situated on the top of Chhappan Hills in Balotra (Barmer), which is called 'Ankhlo Siwano' and the refuge of the kings of Marwar. Chittaurgarh Fort is the pride and largest living fort of Rajasthan located on the Mesa plateau. Lohagarh Fort is an invincible mud fort located in Bharatpur, which was built by Maharaja Surajmal in 1733 AD. Timangarh Fort is an ancient fort situated on the Tribhuvan Giri hill in Karauli district. Hence, the correct code option is A (A-2, B-1, C-3, D-4).

Kumbhalgarh Fort (Rajsamand) was built by Maharana Kumbha in the memory of his queen Kumbhaldevi under the supervision of famous architect Mandan. There is a 36 kilometer long and very wide rampart (parkota) built around this fort, on which many horsemen can move simultaneously. It is also called 'Great Wall of India'. Colonel James Todd has compared Kumbhalgarh with strong 'Etruscan architecture' due to the design of its strong walls, bastions and battlements. Chittorgarh is called the pride of Rajasthan, Ranthambore is called the armored fort and Mehrangarh is called Mayurdhwajgarh.

In the context of Kumbhalgarh Fort, all four statements are completely true. Being situated on the border of Mewar-Marwar, this fort remained a safe haven for the Maharanas of Mewar during times of crisis. The inner fort located at the top of the fort is called 'Katargarh', from where the entire Mewar Empire could be monitored, hence it is called the 'Eye of Mewar'. Maharana Pratap was born on 9 May 1540 in the Badal Mahal (Juna Kachari) of this fort and the coronation of Maharana Udai Singh took place here in 1537 AD. Seeing the extreme height of Katargarh, Abul Fazal had written that when looking at it from below, the turban of the head falls down.

Option D is false about Siwana Fort because Sonar Fort of Jaisalmer is located on Trikut Hill (whereas Kaila Devi Temple is on Trikut Hill). Sivana Fort is situated on the Haldeshwar hill on the mountain of Chhappan. It was built by Parmar king Veeranarayan in the 10th century (954 AD). When Alauddin Khilji attacked in 1310 AD (or 1308 AD), the brave Shitaldev (Sataldev) and Som showed unparalleled bravery and became Saka. Khilji changed its name to 'Khairabad'. This fort was a refuge for the Rathore rulers of Marwar in times of crisis; Both Rao Maldev and Rao Chandrasen made it their main defense center against the Mughals.

The famous Lohagarh Fort of Bharatpur was built by Jat Maharaja Surajmal (who is called 'Plato of Jats' and 'Aflatoon') in 1733 AD. It is a parikh fort and earth fort with a deep moat (Sujanganga canal) around it. Due to the outer walls of this fort being made of mud, the cannon balls became ineffective by sinking into the mud, due to which even the British commander Lord Lake could not conquer it in 1805 AD. Kishori Mahal, Mahal Khas, Kothi Khas, Jawahar Burj and 'Fateh Burj' built in memory of the victory over the British and Mughals are located in the fort complex.

Shekhawati region is world famous for its artistic mansions and the vibrant frescoes made on them, which is also called 'Open Art Gallery'. The mansions of Seth Jaidayal Kedia, Sitaram Singatiya and Nathuram Poddar are famous in Bissau (Jhunjhunu). Seth Lalchand Goenka's mansion is situated in Dundlod (Jhunjhunu). The mansions of Seth Radhakrishna and Kesardev Kanedia are situated in Mukundgarh (Jhunjhunu). Pansari Ki Haveli in Shrimadhopur (Sikar) is famous for its unique architectural style. Hence the correct code option is A.

The 'Golden-Silver Haveli' located in Mahansar (Jhunjhunu) is famous for its excellent and gold frescoes, the famous liquor of Mahansar and the ancient artistic splendor. Nawalgarh is called the 'City of Havelis/Golden City of Shekhawati' where Rupniwas, Poddar, Bhageria and Jalan Havelis are situated. Char Chowk Haveli and Chetram Ki Haveli are famous in Laxmangarh. Nandlal Deora's mansion is situated in Fatehpur. 'Malji's Room', Ramniwas Goenka's Mansion and Ministers' Mansion are famous in Churu.

Nathmal's mansion located in Jaisalmer was built by two real Muslim architect brothers 'Hathi' and 'Lalu' during the time of the then Prime Minister Diwan Nathmal in 1881-1885 AD. The amazing feature of this mansion is that both the brothers built the right and left half of the mansion independently without seeing each other's work, yet there is amazing harmony between the two parts. 'Patwon Ki Haveli' of Jaisalmer is 5 storeyed which was built by Seth Gumanchand Bafna (Patwa) for his 5 sons. Salim Singh's mansion of Jaisalmer is 9 storeyed, which is also called 'Moti Mahal' or 'Jahaz Mahal'.

The 80 pillared marble chhatri and Fateh Gumbad of Maharaja Bakhtawar Singh and his Paswan Musi Maharani are situated in Alwar. The famous Chhatri of 84 pillars built by Rao Anirudh Singh is situated near Devpura village in Bundi. In Jodhpur, 'Jaswant Thada', built in white marble by Maharaja Sardar Singh in memory of his father Jaswant Singh II, is located, which is called 'Taj Mahal of Rajasthan'. The artistic chhatris of Kachwaha rulers (except Sawai Ishwari Singh) are located in Gator, Jaipur. Hence the correct code option is A.

Located in Devpura village near Bundi, the grand Chhatri of 84 pillars was built by the ruler of Bundi, Rao Raja Anirudh Singh in 1683 AD in the memory of his dhabai (nurse brother) 'Deva'. It is a grand three-storey monument that rests on 84 carved pillars. Its pillars and ceilings have beautiful carvings of elephants, horses, nymphs and mythological stories and a large Shivalinga is installed on its central platform. Options A, C and D are factually incorrect.

The construction of 'Adhoora Swapna' Chhatri located in Ranthambore Fort was started by Queen Karmavati, the consort of Maharana Sanga of Mewar. Due to the attack on Chittor by Sultan Bahadur Shah of Gujarat (1534-35 AD), Rani Karmavati had to return to Chittor where she performed Jauhar, due to which this Chhatri remained incomplete and it was called 'Unfinished Dream' Chhatri. In Ranthambore itself, 'Chhatri of 32 Pillars of Justice' was built by Hammir Dev as a symbol of the 32 years of reign of his father Jaitra Singh, and a pillar chhatri and a dog chhatri are also situated here.

The Dargah of Diwan Shah is situated in Kapasan (Chittorgarh) which is a center of Hindu-Muslim harmony. The Dargah of Mitte Shah (Saint Hamiduddin Chishti) is located inside Gagron Fort (Jhalawar) which was built by Aurangzeb. The famous Dargah of Hazrat Hajib Shakkarbar Shah (Shakar Peer Baba) is in Narhar (Jhunjhunu), where a huge Urs is held on Krishna Janmashtami and the insane are treated. The shrine of the famous saint Abdul Peer (Abdullah Peer) of the Bohra sect is situated in Bhagwanpura/Bhawanipura (Banswara). Hence, the correctly matched option is A (A-1, B-2, C-3, D-4).

All the statements are true regarding Kiradu (Hathma village, Barmer). The ancient name of Kiradu is found in the inscriptions as 'Kiratakup'. This site developed during the time of Parmar rulers in the 11th-12th century. There is a group of 5 temples here (4 Shiva temples and 1 Vishnu temple), of which 'Someshwar Temple' is the largest and most ornate. It is called the 'Khajuraho of Rajasthan' because of its exquisite erotic and carved sculpture. This temple displays a beautiful synthesis of Mahamaru/Gurjara-Pratihara and Solanki style of Nagar style.

Ranakpur Jain Temple (Pali) is a world famous Jain pilgrimage situated on the banks of Maghai River. This temple is dedicated to the first Tirthankar Lord Adinath and the four-faced marble statue of Adinath is installed in its sanctum sanctorum, hence it is also called 'Chaturmukh Jinaprasad'. In 1439 AD, during the reign of Maharana Kumbha, it was constructed by Porwal Jain merchant Dharnak Shah under the direction of Shilpi Depak. There are a total of 1444 artistic pillars in the temple, the specialty of which is that none of the pillars obstructs the view of the main idol located in the sanctum sanctorum. Hence it is called 'forest of pillars' or 'museum of pillars'.

'Vimal Vasahi' temple is the most ancient and famous among the five Shwetambar Jain temples of Dilwara situated in Mount Abu (Sirohi). It was built by 'Vimal Shah', the minister and commander of Gujarat's Chalukya (Solanki) ruler Bhimdev I in 1031 AD. It is dedicated to the first Tirthankara Rishabhdev. The second famous temple of Dilwara is 'Lunvasahi' (Neminath Temple), which was built in 1230 AD by Vastupala and Tejpal, the ministers of King Virdhawal of Gujarat, in the memory of their brother Lunsingh. The temples of Dilwara are famous for their transparent and fine carvings of white marble.

The 10th century Bhanddevara Shiva temple at Ramgarh (Baran) is called the 'Khajuraho of Hadoti' or 'Mini Khajuraho of Rajasthan' due to its Gemini sculptures and Nagara/Bhumij architectural style. It was built by the Med dynasty king Malayavarma. 'Khajuraho of Rajasthan' is called Someshwar Temple of Kiradu (Barmer), while 'Khajuraho of Mewar' is called the 10th century Ambika Mata Temple located in Jagat (Udaipur). Hence the correct option is C.

Ambika Mata Temple located in Jagat village (Udaipur) was built in the 10th century (about 960 AD) during the reign of Allat (Aloo Rawal), the Guhil dynasty ruler of Mewar. This temple is dedicated to Shakti sect and Goddess Durga/Ambika. In the outer and inner parts of the temple, extremely finely carved statues of Apsaras, Goddesses and musical instruments playing musical instruments are carved, due to which historians and artists call it 'Khajuraho of Mewar'.

The Bhumija style is a major sub-style of the North Indian Nagara temple style, the main characteristic of which is the vertical and horizontal arrangement of urushringas (miniature pinnacles) at its pinnacles. The oldest known temple of Bhumij style in Rajasthan is the 'Jain temple of Sevadi' (1010-1020 AD) located in Pali district. Apart from this, Undeshwar Temple of Bijolia (Bhilwara) (Saptarath and Navbhum), Mahanaleshwar Temple of Menal (Panchrath and Panchbhum), Bhanddevra Temple of Ramgarh (Baran) and Sun Temple of Jhalrapatan are also excellent examples of Bhumij style.

The temple architecture developed in Rajasthan between 8th to 11th century is called 'Gurjara-Pratihara style' or 'Mahamaru style'. Harshad Mata Temple and Chand Stepwell of Abhaneri are the works of Gurjara-Pratihara period of 8th-9th century. Osian is called 'Bhubaneswar of Rajasthan' where Mahavir Jain Temple, Sachiyaya Mata and Harihar Temple are built in this style. Adivaraha temple of Ahar, Neelkanth Mahadev (Rajorgarh), Dadhimati Mata temple (Goth Manglod) and Someshwar temple of Kiradu (1020 AD, the climax and last grand form of Pratihara style) are all excellent symbols of the Gurjara-Pratihara period.

All the statements regarding the Victory Pillar situated in Chittorgarh Fort are completely true. Maharana Kumbha had it built between 1440 and 1448 AD to commemorate the victory of Malwa. Due to hundreds of artistic sculptures of Hindu Gods and Goddesses engraved in it, it is called 'Encyclopedia of Indian Iconography' and 'Museum of Sculptures'. The word 'Allah' is written 9 times in Arabic on its third floor. It is the symbol of Rajasthan Police and Board of Secondary Education Rajasthan (RBSE) and Abhinav Bharat. A postage stamp of Re 1 was issued on it on 15 August 1949.

A total of 14 huge bastions are built in the strong ramparts of Taragarh Fort (Garh Beethali / Ajaymeru Fort) located on the Beethali hill in Ajmer. Prominent among them are Ghunghat Burj, Googdi Burj, Bandra Burj, Imli Burj, Footi Burj, Khirki Burj, Fateh Burj, Nakarchi Burj etc. The Dargah of the famous Muslim saint Meeran Saheb (Syed Hussain Khingswar), the tomb of the horse, Nana Saheb's Jhalra and the palace of Ruthi Rani Umade are situated in this fort. Bishop Heber called it the 'Gibraltar of Rajasthan'.

Gagron Fort is a unique water fort built at the confluence (Samela) of Ahu and Kalisindh rivers on a straight rock without any foundation in Jhalawar. Two historical Sakas took place in this fort: The first Saka took place in 1423 AD during the war between Achaldas Khigi and Hoshangshah (Alp Khan Gauri) (the description of which is found in 'Achaldas Khigi Ri Vachanika' written by Shivdas Gadan). The second Saka took place in 1444 AD during the reign of Palhansi, son of Achaldas, due to the attack of Sultan Mahmud Khilji I of Malwa. Khilji named this fort 'Mustafabad' and built a huge fort (Jalim Kot) here.

The ancient 'Koshvardhan Fort' situated on the Koshvardhan mountain peak on the banks of Parwan river in Baran district was renovated in 1542 AD during the Malwa campaign of Afghan ruler Sher Shah Suri, after which it was named 'Shergarh'. Later, Mughal emperor Farrukhsiyar gave this fort to Kota Maharao Bhim Singh as a reward. Jhala Zalim Singh, the powerful Diwan of Kota, had built 'Jhalon Ki Haveli' inside this fort. Also in Dholpur, on the banks of Chambal river, there is another 'Shergarh Fort' built by Sher Shah Suri.

Hawa Mahal (Jaipur) was built in 1799 AD by Sawai Pratap Singh under the supervision of architect Lalchand Usta in the shape of the crown of Lord Krishna (5 floors: Sharad, Ratan, Vichitra, Prakash, Hawa Mandir; 953 windows). Jal Mahal (Jaipur) was built by Sawai Jai Singh II in the middle of Mansagar Lake to accommodate the priests during the Ashwamedha Yagya. Khetri Mahal (Jhunjhunu) was built by Raja Bhopal Singh of Khetri in 1760 AD, which is called 'Hawa Mahal of Shekhawati' and like the labyrinth of Lucknow because of the airy windows. Umaid Bhawan Palace (Jodhpur) is the largest private residential palace in Asia built from Chitar stone between 1928-1943.

All four statements are true regarding Jalore Fort. The ancient name of Jalore was Jabalipur and its fort is called 'Suvarngiri' because it is situated on the Kanakachal/Songiri hill on the banks of Sukdi river. It was built by Pratihar king Nagabhatta I. When Alauddin Khilji besieged Jalore in 1311 AD, the secret route was revealed due to the betrayal of Rajput chief Bika Dahiya and Kanhadde Songara and Veeramdev attained martyrdom while fighting. Rani Nattal De's palace, Topkhana Mosque (originally the Sanskrit school of Raja Bhoj Parmar), Saint Malik Shah's Dargah and Jogmaya Temple are located in the fort. Hasan Nizami had written that 'Jalore is such a fort whose door no invader could open.'

Tarachand Ruia's mansion is located in Ramgarh (Sikar), not Mandawa. Ramgarh (Sikar) is called the 'city of mansions and chhatris' where the mansions of Tarachand Ruia, Khemka and Seths are famous. Mandawa (Jhunjhunu) houses the mansions of Sagarmal Ladiya, Jhunjhunwala Haveli, Goenka Double Haveli, Hanuman Prasad Goenka Haveli, Laduram Tarakeshwar Goenka Haveli, Ramgopal Madanlal Murmuria Haveli and Harchandlal Dhandhaniya, which are famous for their frescoes and paintings of European lifestyle.

The world famous Trinetra Ganesh Temple (Ranatbhanwar Ganesh Ji) located in Ranthambore Fort was built by the brave ruler Hammir Dev Chauhan. According to the legend, during the siege of Alauddin Khilji in 1301 AD, Lord Ganesha appeared in the dream of Hammir Dev, after which this temple was established in the fort. Here, only the face (idol with three eyes) of Lord Ganesha is installed where Riddhi, Siddhi and auspicious benefits are also present along with him. Here every year on Bhadrapada Shukla Chaturthi (Ganesh Chaturthi/Chatra Chauth), a huge Lakhi fair is held and the first invitation letter (Kumkum Patrika) for marriage from India and abroad is sent to this temple.

Cremation grounds with artistic umbrellas have been built in memory of the ancestors of various dynasties of Rajasthan. The chhatris of the Bhati rulers of Jaisalmer are located in 'Bada Bagh'. The chhatris of the Rathore kings and queens of Bikaner are located in 'Devikund Sagar' (of which the chhatri of Rao Kalyanmal is the oldest). The chhatris of the Hada rulers of Kota are situated in 'Kshar Bagh' (Chhatravilas) and those of the rulers of Bundi in 'Kesar Bagh'. The royal cremation ground of the Maharanas of Mewar is called 'Mahasatiyan' in Ahar (Udaipur), where the Chhatri of Maharana Amar Singh I is the first and most prominent. The place of Kachwaha rulers of Jaipur is 'Gator' and 'Mandor and Jaswant Thada' of Rathores of Jodhpur. Hence the correct code is A.

All four statements regarding the nomenclature of Rajasthani painting are historically completely true. In 1916 AD, Dr. Anand Kumar Swami made the first scientific division of the paintings of Rajasthan and hill states by writing the book 'Rajput Paintings'. Kumar Swamy, O.C. Ganguly and E.B. Havell called it 'Rajput painting' because it flourished under the patronage of Hindu/Rajput kings. W.H. Brown named it 'Rajput art'. Later, artists Raikrishna Das and Colonel James Todd named it 'Rajasthani painting' on the basis of the unique original identity of this geographical region, which is most accepted today.

On the basis of geographical, cultural and thematic characteristics, Rajasthani painting is divided into four major schools: 1. Mewar School (Mewar, Chavand, Nathdwara, Deogarh, Shahpura, Sawar, Banera, Begun Thikhane); 2. Marwar School (Jodhpur, Bikaner, Kishangarh, Jaisalmer, Nagaur, Sirohi, Ajmer, Ghanerao, Junia); 3. Hadoti School (Bundi, Kota, Jhalawar); 4. Dhundhaar School (Amer, Jaipur, Alwar, Shekhawati, Uniara, Isarda, Jhilai, Samod locations). Hence, the correctly matched option is A (A-1, B-2, C-3, D-4).

Mewar painting is considered to be the original and oldest style of Rajasthani painting. Its earliest available palm leaf painted text 'Shravak Pratikraman Sutra Churni' was painted by the painter 'Kamalchandra' in Ahar (Udaipur) in 1260 AD during the reign of Rawal Tej Singh of Mewar. Apart from this, 'Supasnah Chariyam' (Supasnah Charitam), painted in Delwara during the reign of Maharana Mokal in 1423 AD, is a book painted by Hiranand. Douglas Barrett and Basil Gray consider Mewar to be the birthplace of the Chaurpanchashika style.

During the reign of Maharana Udai Singh (1537-1572 AD), the famous episode 'Parijat Avtaran' of Bhagwat Purana was painted by the painter 'Nanaram' of Mewar. During the reign of Maharana Pratap, when the capital became Chavand during the crisis, the Chavand style developed where the famous picture of 'Dhola-Maru' was made in 1592 AD (currently preserved in the National Archives, New Delhi). In 1605 AD, during the reign of Amar Singh I, the painter 'Nisardin' had painted the famous 'Ragmala' in Chavand. Sahibdin and Manohar were painters of the period of Maharana Jagat Singh I.

All the statements regarding Devgarh painting style are completely true. Devgarh was the 16th first class Umrao Thikana of Mewar which was established in 1680 AD by Rawat Dwarikadas Chundawat. In the painting style developed here, the color scheme of Mewar, the expressions of Marwar and the fine ornamentation of Jaipur come together to form a unique fusion. Dr. Sridhar Andhare exposed this sub-genre internationally. Bagta, Chokha, Kanwala, Baijnath and Nanga were its famous painters. Natural scenes, hunting, elephant fights, harems and royal splendor are its main themes, which come alive in the frescoes of Moti Mahal of Deogarh Palace and Ajara Ki Owari.

All four statements are true in the context of Kishangarh style. The royal family of this princely state, established by Kishan Singh in 1609 AD, had a deep influence of the Pushtimargiya Vallabha sect, due to which the pastimes of Krishna-Radha became the main theme here. The devotion and love of Raja Sawant Singh (Nagridas) and his lover Rasikpriya (Bani-Thani) were molded into immortal works by the court painter Mordhwaj Nihalchand. The pointed eyes like the Khanjan bird, arched eyebrows, fluted neck and 'Besari' ornaments in the nose are the main hallmarks of this style. Eric Dickinson and Dr. Faiyaz Ali made it world famous. In 1973, a postage stamp of 20 paise was issued on it.

In the Alwar style, during the reign of Maharaja Mangal Singh, painters 'Moolchand' and 'Udairam' made very fine and excellent paintings on ivory plates (panels) which became famous all over India. Alwar style separated from Jaipur in 1775 AD during the time of Rao Raja Pratap Singh (Daluram and Shivkumar were painters during the time of Pratap Singh). Baldev did painting during the time of Bakhtawar Singh. During the time of Vinay Singh, beautiful calligraphy and illustration of Sheikh Saadi's 'Gulistan' book was done. During the period of Balwant Singh, Saligram, Jamnadas, Chhotalal, Buxaram and Nandram were the prominent painters. During the period of Shivdan Singh, the famous picture of 'Naferi Vadan' based on Kamashastra was made.

Prominent painters of Jodhpur (Marwar) style include Ramu, Natha, Dana Bhati, Chhajju, Saifu, Jeetmal, Kalu, Dalu, Bishandas, Narayandas, Amardas Bhati and Shivdas Bhati. The artists of 'Bhati family', especially the artists of Marwar painting, have made an unprecedented contribution from generation to generation. In Marwar style, there is abundance of red and yellow colors, swirling form of clouds, Khanjan birds, camels, horses and lively depiction of heroic subjects (like Dhola-Maru, Mumal-Nihalde, Beli Krishna Rukmani Ri). During the reign of Maharaja Mansingh, most of the paintings related to Nath sect were made in this style.

The reign of Maharana Jagat Singh I is considered to be the golden period in Mewar painting style. Jagatsingh I established a 'Photograph Factory' in the royal palaces of Udaipur for the training of painters and art creation, which is also known as 'Owery of Pictures'. The two main pillar painters of this period were 'Sahibdin' and 'Manohar'. Sahibdin depicted Ragamala in 1628 AD, Bhagwat Purana, Rasikpriya, Geet Govind in 1648 AD and Yudhkand of Ramayana in 1652 AD. Manohar depicted the Balkand of Ramayana in 1649 AD. Hence all four statements are true.

The Kota style is a major style of the Hadoti school which developed separately from Bundi in the second half of the 17th century. The reign of Maharao Umed Singh I was the golden period of Kota style. The world-renowned feature of this genre are the scenes of hunting of predatory wildlife (lion, leopard, deer) in dense forests. Kota style is the only genre in Rajasthan in which queens and royal women are depicted hunting with guns and arrows. Kota painter Dalu had painted the huge 'Ragamala' set in 1768 AD. Lakshiram, Noor Mohammed, Govind and Raghunath were its other prominent painters.

Matheran art is the traditional art of the Jain painter families (Matherans) of Bikaner who create mythological paintings in lime plaster, wood and temples (e.g. Munnalal, Mukund, Chandulal). Screen painting/Pichwai is a world famous art of Nathdwara (Rajsamand) in which pictures of Krishna's pastimes are made on a big cloth curtain behind the idol of Shrinathji. In Kajli painting, black and white photographs are made on paper with pure lamp kajal and hands without using any brush. Phad illustration is the depiction of stories of folk deities (Pabuji, Devnarayan ji) on cloth by the Joshi painters of Shahpura (Bhilwara). Hence the correct code option is A.

'Bassi' village of Chittorgarh district is famous for wood art and especially 'Kavad' making where people of Khairadi caste have been engaged in this business for generations. 'Mangilal Mistry' made wonderful innovations in Kavad art and took it to international museums. Kavad is a multi-doored box/temple made of wood with several doors (panels). On the basis of red color, pictures of Ramayana, Mahabharata, Krishna Leela and local folk deities (Ramdevji, Pabuji, Gopichand Bharthari) are made on these cupboards. The bard or Kavadiya bard opens one door after another while narrating the story.

The main and most famous center of Gota industry in Rajasthan is 'Khandela' town of Sikar district. Gota is a bright lace woven from gold and silver wires and cotton fabric which is used on the edges of Odhanis, Lehengas and Sarees. The goatee with more width is called 'Lappa' and the one with less width is called 'Lappi'. Its other types are Bankri, Kiran, Gokhru, Chaumasya and Aathmasya. The women of Shekhawati (Sikar and Jhunjhunu) are particularly skilled in making red knotted covers and patchwork.

Lahariya and Mothra are unique examples of the traditional Bandhej and dyeing art of Rajasthan. Wearing Panchrangi or Satrangi Lahariya on Teej and Rakshabandhan in the month of Shravan is considered very auspicious. Jaipur and Jodhpur are its main centres. Jaipur's 'Rajshahi Lahariya' and 'Samudra Lahariya' (which have wide and wavy stripes) are historically famous. When the oblique stripes on both sides cross each other and form a square net, then that bandhej is called 'Mothada' (Mothada turban of Jodhpur is very famous).

Ajrak print (blue and red geometric ornaments) and Malir print (brown and black printing) are famous handicrafts of Barmer. Jajam print and clay Dabu print are famous from the village 'Akola' (Hidden Akola) of Chittorgarh district. Sanganeri Print is known for fine printing of natural colors and bell-bottoms in Sanganer, Jaipur (contribution of Chhipa community and Munnalal Goyal). In Bagru Print (Jaipur), printing is done using wooden blocks with natural black and beige colours. Hence the correct code option is A.

Jajam print (or Azam print) of Akola (Chittorgarh) is done on thick and strong cotton Khaddar fabrics. Mainly red (madgeet) and black (ink) colors are used in abundance in it. Textiles made from this print are used as floor coverings (jajams), cushions and women's traditional ghagra-odhni during auspicious occasions, fairs and panchayats in rural areas. The water of Bedach river in Akola is considered extremely suitable for curing these colours.

In Dabu print, the area where color is not to be applied is protected by applying pressure on a special pulp or paste. There are many types of Dabu: Dabu of wax (Sawai Madhopur and Bagru), Dabu of clay (Akola, Chittorgarh) and Dabu of dough and wheat (Sanganer and Balotra). A coating of hot wax is applied in the wax dabu so that the color does not enter that place and later the wax is removed with hot water.

Galiyakot town situated in Sagwara tehsil of Dungarpur district is famous in the whole country for 'Ramkra Industry'. Here the Muslim Dawoodi Bohra community and local craftsmen carve 'Parewa stone' (Ghiya stone / Soapstone / Soft Steatite Stone) to make extremely beautiful toys, idols, lamps, ashtrays and household decorative items. This stone is soft and smooth which can be easily cut and polished.

Bow and arrow making has been a traditional and artistic cottage industry in the southern tribal belt of Rajasthan. 'Chanduji ka Gadha' in Banswara district and 'Bodigama' village in Dungarpur district are famous throughout Rajasthan for making high quality, precise and carved bows and arrows. The artisans here create extremely durable and artistic bows and arrows using local bamboo and iron.

Nathdwara (Rajsamand) is famous for artistic jewelery made of fine wires of pure silver which is called 'Tarkashi Jewellery'. In this, beautiful anklets, earrings, bangles, boxes, pandan and jewelery of Lord Shrinathji are prepared by intertwining and connecting thin silver wires. Pratapgarh is famous for 'Theva art' (gold carving on glass), Jaipur for 'Meenakari' and 'gemstone carving' and Bikaner for 'Kundan art'.

Meenakari and Theva art are world famous jewelery crafts of Rajasthan. The Meenakari art of Jaipur (especially the red-green enamel) was brought from Lahore by Raja Mansingh I of Amer in the 16th century; Kudrat Singh has been its chief architect. Theva art is prevalent only in Pratapgarh district in which very fine wire carving of 24 carat gold is done on special Belgian glass. This art was started by Nathuji Soni and even today is not taught even to the daughters-in-law of the Rajsoni family (highly confidential). It has received GI tag.

'Jattapatti Industry' (Jattapatti craft) of Jasol town of Balotra (Barmer) district is very famous. Here locally, strong strips are woven from the rough hair of goats and camels. From these strips, thick tailor-like clothes for laying on the floor, sacks, saddles and cot weaving strips are prepared, which are called 'Jirohi', 'Bhakla', 'Gandha' etc. in the local language. These products are extremely strong and water resistant.

Embroidery and textile ornamentation is the rich folk art of Rajasthan. Patchwork (artistically joining pieces of cloth) of Shekhawati is famous. Barmer's Ruma Devi (Rajivika's brand ambassador) made thousands of rural women self-reliant. Suf, Bharat, Hurmaji, Aari, Tilla, Mukesh and Zardozi are typical styles of traditional embroidery. Zardozi work of Jaipur and Suf embroidery of Marwar are known for their fine weave. Hence all four statements are true.

'Mathania' town of Jodhpur has been famous historically for its velvet and extremely fine 'Malmal' (cotton muslin). Whereas 'Kathoon' town of Kota district and 'Mangrol' town of Baran district are world famous for the manufacturing of 'Kota Doria' or 'Masooriya' sarees. During the time of Maharao Shatrushal of Kota, weaver Mansoor Ahmed from Mysore (Karnataka) was brought and settled here, hence this weaving was called 'Masooriya'. This saree is woven from cotton and silk threads by making a square lattice (khat) which is called 'Banarasi of Rajasthan'.

Rajasthan is a leader in stone and marble sculpture. The craftsmen (like Arjun Prajapati - Padmashree) who make statues from the white marble of Makrana in Jaipur are world famous. Talwara village of Banswara is known for black stone sculptures (Sompura style). Dewal area of ​​Dungarpur is famous for soapstone/Parewa stone carvings. The yellow stone of Jaisalmer is used in mansions for its fine carvings and jali work. Bhainslana (Jaipur) is famous for black marble and Makrana (Didwana-Kuchaman) is famous for white marble.

Many traditional handicrafts of Rajasthan have received GI Tag under Intellectual Property Rights, which include Sanganeri Hand Block Print, Bagru Hand Block Print, Kota Doria (cloth and logo), Theva Art, Blue Pottery, Molela Clay Work (Terracotta), Pokaran Pottery, Phulkari, Bikaneri Bhujia, Makrana Marble, Sojat Mehndi, Udaipur Koftgari, Bikaner Embroidery and Usta. Kala, and Pichhwai of Nathdwara. 'Lohia Carpet (Bharatpur)' given in option D is not a GI tagged product (Jaipur and Tonk are famous for carpets).

Pomcha is a traditional Rajasthani veil with printed circles in the shape of lotus (padma) flower. It is customary for a pregnant woman to send Pomcha from her Pihar (maternal side). On the birth of a son, a bright yellow pomcha (called 'Peela' or 'Peela Pomcha') is sent, while on the birth of a daughter, a pink or red pomcha is sent. In Hadoti region, the black colored pomcha is called 'pine pomcha' which is usually worn by widow women.

Dingal is a literary language style based on Veer Rasa based on Western Rajasthani (Gurjar Apabhramsha and Marwari), which was mainly used by Charan poets in describing the bravery, wars and genealogy of Rajput kings (like Prithviraj Rathore, Dursa Aadha, Bankidas). In contrast, Pingal is a mixed literary form of Shaurseni Apabhramsh, Eastern Rajasthani (Dhundhadi-Mewati) and Brajbhasha, which was used by Bhat poets (like Chandbardai's 'Prithviraj Raso'). Hence option B is completely correct.

Blue pottery is originally the art of Persia (Iran) and Türkiye which was brought by Maharaja Mansingh I from Lahore to Jaipur, and it developed most during the reign of Sawai Ram Singh II. Mau (Sikar) resident Padmashree 'Kripal Singh Shekhawat' gave it global recognition by inventing 25 new colors instead of the traditional only blue and green, which was also called 'Kripal style'. He was awarded the Padma Shri in 1974. Mohanlal Kumhar received Padmashree for Molela Terracotta.

'Usta Art' of Bikaner is the relief enamel done with pure gold work and colors on the cleaned skin of dead camel and on the roofs of kupis (cups), utensils and palaces, which is also called 'Munavvati Art'. This art reached its peak in Bikaner during the reign of Maharaja Anup Singh. The most important artist of this art was Padmashree 'Hisamuddin Usta'. 'Camel Hide Training Centre' has been established in Bikaner for the preservation and training of Usta art. It has also received GI tag.

Allah Jillai Bai (1902-1992 AD) was the best Mand singer of Rajasthan who is called 'Maru Kokila'. At the young age of 10, he started singing in the court of Maharaja Ganga Singh of Bikaner. 'Kesariya Balam' sung by him became the official state song of Rajasthan inviting tourists to visit Rajasthan. A postage stamp of Rs 5 was issued in 2003 on this great singer, who was decorated with Sangeet Natak Akademi Award (1988), Padmashree (1982) and Rajasthan Ratna (2012). Gawari Devi, Banno Begum, Mangi Bai and Jamila Bano are other famous Mand singers of Rajasthan.

The folk songs of Rajasthan are highly influenced by the geographical environment. Due to the vast silence and open expanse of the Thar Desert, the folk songs here (such as Moomal, Kurjan, Jhorawa) are high pitched and long in tune, which are sung by professional musician castes on kamaycha and sarangi. On the contrary, in the southern hilly region (Mewar, Vagad), due to dense forests and tribal collectivity, songs are sung in small steps and limited notes in chorus (like Hamsidho, Patelya, Beechiyo). In the eastern plains, devotion and adornment predominate.

Maternal (holar) songs are sung at the time of birth of a child for the happiness of the family and for the health of the mother and child. Kaman songs are sung by women on the occasion of marriage to protect the groom from evil powers and witchcraft. The song Moriya is sung by a young woman who is engaged but the marriage is being delayed. Olyun is a farewell song sung in the memory of a loved one, while 'Koyaladi' song is sung at the time of farewell of a girl. Among other wedding songs, prominent ones are Bana-Bani, Ghodi, Seethane (abusive song), Jala (while going to see the camp) and Jua-Jui. Hence the correct code is A.

In the Mewar region, a unique folk tradition is carried out 15 days before Diwali in which small children form groups and go from door to door singing songs. The songs sung by a group of boys are called 'Lovadi' or 'Harni', while the songs sung by girls (girls) from house to house by keeping a lamp in a perforated clay pot are called 'Ghadlyo'. In return the householders give them oil, grains and dakshina.

The glorious state song of Rajasthan, 'Kesariya Balam' is a poignant song of separation originally sung in Mand singing style. In this, the newly married wife, who is suffering from the pain of separation when her husband (beloved) goes to the state, gives an emotional invitation to her master to return home and visit his birthplace. The credit for making this song international famous goes to Padmashree Allah Jillai Bai, Gawari Devi and Mangi Bai.

String instruments are those in which sound is produced by the vibration of strings. Ravanahatha is the main instrument of Pabuji and Ramdevji's Bhopas which is played with the hair of horse's tail. Kamaycha is a round-headed instrument of the Sarangi family, whose principal player was Padmashree Sakar Khan Manganiyar. Jantar is mandatory in reading the Phad of Devnarayan Ji. Sarangi is considered the best among string instruments which has 27 strings (Padmashree Ramnarayan and Sultan Khan). Dukaka is played by Bhils and Chautara/Tambora is played by Kamad caste while singing the hymns of Ramdevji.

Wind instruments are instruments played by blowing (by air pressure). The algoza (state instrument) has two tubes (Player: Ramnath Chaudhary - who plays the algoza with the nose). Nad Vadya is an instrument of the shepherds of western Rajasthan which was played by Karna Bhil, famous for his long moustache. Morchang is the smallest metal folk instrument which is similar to the 'Jew's Harp' of western music. Bankiya is a brass bugle-like instrument which is played along with the drum by the Sargada caste. Shehnai is the best melodious wind instrument (Chand Khan, Bismillah Khan). Hence all four statements are true.

There are four classes of instruments in Indian music: 1. String instruments (stringed) like Dukaka, Ravanahatha, Sarangi, Jantar, Kamayacha, Tambura; 2. Solid musical instruments (those made of solid metal) like Shrimandal (tree like metal wheel with brass bells mounted on it), Manjira, Khadtal, Thali, Jhanj, Ramjhol, Legim; 3. Avanaddha/toned instruments (covered with leather) like Pakhavaj/Mridang (Pandit Purushottam Das - Padmashree), Dhol, Mandal, Nagara, Damru, Chang, Khanjari, Tasha, Dhaunsa; 4. Wind instruments like morchang, algoja, nad, flute, shehnai, conch. Hence the correct code option is A.

Surinda instrument is a highly artistic stringed instrument made from the wood of Rohira (the state flowering tree of Rajasthan). It looks similar to Sarangi but its lower part is deeper and cup-shaped. This instrument is mainly played by 'Langa musicians' of Western Rajasthan (Barmer, Jaisalmer, Jodhpur) to accompany their traditional folk singing. While singing, it is played by keeping it straight in front of the mouth.

Nad is a very ancient and rare wind instrument which is found in the desert areas of western Rajasthan. It is made from about one meter long hollow stick of Kaira or Kangor tree which has 4 to 6 tone holes. It is played by keeping it at an angle with amazing coordination of mouth blow and throat resonance. Late 'Karna Bheel' of Jaisalmer was famous all over the world for his historic six feet long mustache and drum playing.

Dhrupad is the most ancient, serious and spiritual singing style of Indian classical music which has four vanis (styles): Khandari, Nohari, Daguri and Gauharhari. Dagar Gharana (Jaipur) became the most prestigious center of Dhrupad in Rajasthan, whose founder was Ustad Bahram Khan Dagar. Dagar brothers brought global prestige to pure Dhrupad-Dhamar singing. In Khandari Vani established by Samokhan Singh, Veena's lyrics predominate and Gamak is used strongly. Hence all the statements are true.

The Mewati Gharana was founded by Ustad 'Ghagghe Nazir Khan', the court singer of Jodhpur Maharaja Jaswant Singh II. Ghagghe Nazir Khan trained Nathulal and Chimanlal. Pandit Motiram and Jyotiram (who were called the 'Jyoti-Moti' duo) played an important role in taking this gharana forward. Later in this tradition, the great classical singers Pandit Maniram, Pandit Pratap and Padma Vibhushan 'Pandit Jasraj' (the founder of Haveli Sangeet and Jasrangi Jugalbandi) immortalized the Mewati Gharana all over the world.

Maharaja Sawai Pratap Singh of Jaipur (1778-1803 AD, builder of Hawamahal) himself used to write poems under the pseudonym 'Brajnidhi' and was a high-ranking musician. He organized a huge conference of the best musicians and acharyas of his time in Jaipur and from their collective discussions got an encyclopedic book of music named 'Radha Govind Sangeet Saar' compiled. Sawai Pratap Singh's musical guru was Ustad Chand Khan who wrote the book 'Swar Sagar' and his court scholar Bhatt Dwarkanath composed 'Raag Chandrika'.

Padmashree Devi Lal Samar, who established the 'Bharatiya Lok Kala Mandal' in Udaipur in 1952, deeply studied the regional nature and cultural differences of the folk dances of Rajasthan and divided them into three major geographical categories: 1. Dances of the hilly region (dances of the tribes like Gair, Gawari, Hathimana, Walar of Udaipur, Dungarpur, Banswara, Sirohi, Bhil, Meena, Garasia etc.); 2. Dances of desert/Rajasthani region (dances of Jodhpur, Bikaner, Barmer, Jaisalmer like Dandiya, Gindar, Chang, Dhol dance, Kalbelia); 3. Dances of Eastern plains (dances of Jaipur, Bharatpur, Alwar, Dholpur like Bamb dance, Chari, Duff dance).

Gair Nritya is a very popular traditional folk dance of Rajasthan which is performed for fifteen days from the next day of Holi (Dhulandi) in Mewar, Barmer (Kanana and Angnewa) and Marwar. It is purely a group dance of men in which they wear traditional white tunic, red dhoti and turban and move fast in a circular path with sticks in their hands. 'Aangi-Bangi Gair' of Barmer, 'Gair of Talwars' (Menar) of Bhilwara and Gair of Bilara are famous. All four statements are true.

'Gindad Nritya' of Shekhawati (Sikar, Churu, Jhunjhunu) is a very cheerful male-dominated folk dance performed throughout the night for almost a week during Holi. The dancers hit the sticks in their hands against each other while moving around in a circle to the beat of a big drum. In this dance, there is a tradition of wearing social costumes like Sadhu-Shikari, Seth-Sethani, bride-groom, Dakan, Shiva-Parvati etc. The male characters who dance wearing attractive women's clothes are called 'Gangaur' or 'Mehri'.

Dhol dance of Jalore is counted among the most vigorous and disciplined professional folk dances of Rajasthan. 'Thakna' is a special classical rhythm/initial style of drumming which fills the dancers with enthusiasm and vigor. As soon as the tiara stops, the dancers move into various combat and acrobatic postures. Sher-e-Rajasthan folk hero Jayanarayan Vyas had given this dance international fame by providing a platform to these artists of Dholi and Sargada caste. Hence all four statements are true.

Bhavai dance is a miraculous commercial folk dance originally from the Mewar and Marwar region bordering Gujarat, whose origin was Baghaji Jat, a resident of Kekri in the 16th-17th century. In this dance, the dancer puts 7, 8 or 11 pitchers of brass or clay on his head and dances on the sharp edges of glass bottles, plates or the edge of a naked sword. Asmita Kala of Jodhpur had registered her name in the Limca Book of World Records by placing 111 pots on her head. Shanta Gandhi brought international fame to the play 'Jasma Odan' based on Bhavai Natya.

Kalbelia dance is a world famous folk dance of the Sapera caste. In this dance, the costumes of the dancers are black in color with decorations of gota, glass and cowries. The dancers perform elastic body postures like serpents to the tune of pungi and dafli. The Bagadiya dance is performed by Kalbelia women while playing chang while begging; Sankariya is a couple dance based on a love story; Indoni and Panihari are based on the theme of water filling. It is the first folk dance of Rajasthan to be declared an Intangible Cultural Heritage by UNESCO in 2010.

Shikari dance is performed by the men of Sahariya tribe (Kishanganj and Shahabad, Baran) as a pretense of hunting. Mavaliya dance is performed by the Kathori tribe (Udaipur) in praise of the goddess during the 9 days of Navratri. Hathimana dance is performed by Bhil men on the occasion of marriage while sitting on their knees and waving the sword in their hands. Walar, Madal, Lur, Kood, Jawara, Gaur and Moriya are the famous dances of Garasia tribe (Sirohi/Abu). Apart from this, Chari dance is of Gurjars and Chakri and Dhakad dance is of Kanjar caste. Hence the correct code option is A.

Walar dance is the most famous folk dance of Garasia tribe (Sirohi, Pindwara, Abu Road). The unique feature of this dance is that no musical instruments (drum, thali etc.) are used in it; The dancers maintain the rhythm by tapping their feet, snapping their hands and singing. The men walk in front with swords or umbrellas in their hands and the women follow them in two semicircles, walking very slowly and with dignity. It is also called 'Ghoomar of Garas'.

Chari dance is a very attractive folk dance performed by women of Gurjar caste in Kishangarh (Ajmer) region on auspicious occasions and to welcome guests. The dancers hold a brass chari (kalash) on their head in which cotton seeds (kakada) are soaked in oil and the fire is lit. It is a wonderful art of balancing while dancing in the dark with flames burning on the head. The credit for making this dance world famous goes to 'Falku Bai' of Kishangarh and Sunita Rawat and Mohan Singh Gaur.

Kutchi Ghodi dance is a well-known commercial folk dance of Shekhawati, Kuchaman, Didwana, Parbatsar and Nagaur region. In this, the dancers dress up as grooms or warriors and dance while standing in the middle of a wooden horse frame. The most distinctive choreography of this dance is that eight dancers stand in two rows facing each other and move in and out with such speed and coordination that the viewer feels like a flower blooming and the petals shrinking. Artists of Sargada, Bhambhi and Kumhar castes are considered extremely skilled in this.

Dang dance is performed jointly by men and women on drums and mandals in the temple premises of Shrinathji on the occasion of Holi in Nathdwara (Rajsamand). Bindauri dance is a non-style wedding and Holi dance of Jhalawar region. Bhairav ​​Nritya (Peacock Dance) is performed after Holi in Beawar by the artist of Vyas family playing the role of Birbal at the time of the ride of Badshah (Todarmal). Khari dance is performed in Mewat (Alwar) at the time of farewell of the bride by her friends placing Khari (decorated basket) on her head. Hence the correct code is A.

Sahariya is the only tribe of Rajasthan which has been included in the 'Primitive Tribal Group' (PVTG) by the Government of India. Their cultural heritage is very rich. Shikari dance is the most important heroic dance of men in which they pretend to be hunting with bow, arrow and axe. Lehenga dance is performed by girls at the place of Tejaji on the occasion of Rakshabandhan. Indrapari is the wedding dance. Bichhwa is a song and dance of women and Jheela is a song and dance of the harvest time. Various mythological mimes are created in the song dance.

Charbaint is the only Pathani style traditional folk theater of 'Tonk', the city of Nawabs of Rajasthan. This genre, brought by the Pashtun soldiers of Afghanistan during the time of Nawab Faizullah Khan in the 19th century, was staged by Khalifa Karim Khan Nihang with local Urdu and Rajasthani influence. In this, four-line verses (four sticks) are sung in the form of a dance in the Akharas on the fast beat of the tambourine instrument. In this, the actors stand on their knees and speak the dialogues in a passionate manner. Hence all the statements are true.

Rammat is a purely literary and folk religious poetic drama of western Rajasthan which is played on the paata (stage) of open mohallas throughout the night on the occasion of Holi. The bright poet of Jaisalmer created public awareness in the freedom movement through Rammat and announced 'Commissioner, open the door, we also have to go to jail'. Pata culture of Rammat in Bikaner is world famous where people of all castes participate in it. Before the performance of Rammat begins, aarti and devotional verses of folk deity Ramdevji are sung.

Kuchamani Khayal is a very popular Khayal style of Nagaur-Kuchaman region. Its originator Pt. Lachchiram spread mythological and historical narratives to the common people through simple folk language and lyrical verses. The main characteristics of this Khayal are: dialogues being poetic and musical, high-pitched tunes like opera, use of dholak, shehnai and sarangi, and performance on open stage. In this, the female characters are also played by men. Ugamraj Kuchamani is the most famous contemporary artist of Khayal.

The unique feature of Jaipuri Khayal is that only women play the roles of female characters in it and there is free rein for modern experiments. Kanhaiya Khayal is played in the form of 'Dangal' in Karauli, Dholpur, Dausa and Sawai Madhopur in which the story is called 'Kahan' and the narrator/narrator is called 'Mediya'. The originator of Shekhawati Khayal was Nanuram Chidawa which was popularized by Dulia Rana. Turra-Kalangi Khayal was started about 400 years ago by Tukangir (Kalangi - Parvati symbol) and Shah Ali (Turra - Shiva symbol) in which poetic dance takes place on the beat of Chang. Hence the correct code is A.

Tamasha and Gawari are two very distinct folk theater traditions of Rajasthan. Jaipur's Tamasha is an open folk theater in which music, dance and dialogue predominate (major plays: Jogi-Jogan, Gopichand, Heer-Ranjha). Gawari is the oldest folk drama of Rajasthan which is called 'Merunatya of folk dramas'. It is staged daily for 40 days by Bhil men in Bhadrapada and Ashwin from the next day of Rakshabandhan. In this, Rai (Parvati), Budhiya (Bhasmasur), Jhamtya and Khatkadya are the main characters. All four statements are true.

Rajasthani language is a very rich and ancient Aryan language of India. Linguistically, it is a descendant of Marugurjari Apabhramsha (according to Dr. Tessitori, Grierson and Dr. Motilal Menaria). Among the 18 native languages ​​mentioned in Kuvalayamala, the language of Western Rajasthan has been called 'Marubhasha'. Abul Fazal called it 'Marwari' in 'Ain-e-Akbari'. In 1912, Sir George Abraham Grierson first named 'Rajasthani' for the group of all the dialects here. The period from 16th to 19th century was the golden age of its literature.

Dr. George Abraham Grierson classified the dialects of Rajasthani language into five major geographical groups: 1. Western Rajasthani (Marwari, Mewari, Dhatki, Thali, Bikaneri, Wagdi); 2. Middle-Eastern Rajasthani (Dhundhadi and Hadauti); 3. North-Eastern Rajasthani (Mewati and Ahirwati/Rathi); 4. South-Eastern Rajasthani (Malvi and Nimadi); 5. Southern Rajasthani (Bhili/Khandeshi influence). Dr. L.P. Tessitori divided it into two main parts (Western Rajasthani and Eastern Rajasthani).

The zenith (golden age) of Rajasthani language and literature is considered to be from 1650 AD to 1850 AD (post-medieval period/Riti period). During this period, under the patronage of the kings and independently, high quality Prabandha poetry, ethical poems (like Rajiya Ra Soratha, Chokhiya Ra Soratha, Kriparam Khidiya Krit), historical stories, Vachanikas, Davaita and Shringaar Rasa's immortal works were written. The dictionary, idioms and grammatical form of the language became most rich and powerful during this period.

Marwari is the main literary dialect of Western Rajasthan and is spoken in the largest area and population. Mewari is the melodious and vowel-oriented dialect of the princely state of Mewar in which the plays of Maharana Kumbha are written. Dhundhari is the dialect of Jaipur and surrounding Dhundhar region in which the entire literature of Dadupanth has been written. Hadoti is the main dialect of Kota division in which Suryamall Mix composed 'Vansh Bhaskar' and 'Veer Satsai' (Kellogg considered it the most difficult dialect). Hence the correct code option is A.

There has been a beautiful linguistic exchange of Rajasthani dialects with the languages ​​of the bordering states. The verb 'chhe' in Dhundhadi has Gujarati influence. Wagdi, being close to the Gujarat border, is highly similar to Gujarati in grammar and vocabulary (Grierson called it Bhili). Mewati of eastern Rajasthan has the sweetness and influence of Braj (literature of Sant Charandas and Laldas). The Malvi dialect of Malwa region contains a unique blend of Marwari, Dhundhadi, Gujarati and Marathi. All four statements are true.