Reading Comprehension MCQ Quiz in मल्याळम - Objective Question with Answer for Reading Comprehension - സൗജന്യ PDF ഡൗൺലോഡ് ചെയ്യുക

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 temperature makes them fragile. The range of items is primarily decorative, such as vases, coasters, small bowls, 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 14^th 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 17^th 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.

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 temperature makes them fragile. The range of items is primarily decorative, such as vases, coasters, small bowls, 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 14^th 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 17^th 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.

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 temperature makes them fragile. The range of items is primarily decorative, such as vases, coasters, small bowls, 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 14^th 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 17^th 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.

Directions: Read the passage given below and answer the questions that follow by choosing the correct/most appropriate options.

"Most of my time is spent in my room, French-plaiting other girls hair", said Rachel Bufford of the England women's rugby team. Burford and her braided friends then go out in the rugby pitch where, if you have watched any of the recent world cup matches, you have noticed that the women are just as fearless as their male counterparts.

"It has got to the point now when I feel a bit weird if I don't do someone's hair before a game", said Burford. "Some of the girls look really tough with their hair plaited, so it is also a psychological thing-a victorious thing." Sadly victory wasn't tied up in those braids, the team lost to New Zealand in the September 5 final, but many of the players looked fierce like warrior women going into battle.

Plaits are the earliest of hairstyles because before haircutting and hairdressing, people obviously had longhair and plaits were the simplest way of keeping it out of the way, "says a fashion historian." "For that reason", she says, "we associate plaits with both women and men, and particularly these who were involved in athletic pursuits, such as war. Think of Legolas in 'The Lord of the Rings' or the super strong Obelix in the 'Asterix cartoons. For women, Boudicca or Valkyne plaits seem to enhance their ferocity", says cox.

It was a practical hairstyle until we get to the 19th century when it began to be associated with female children. Even now, plaits on the whole have the meaning of the youthful schoolgirl. Not an image you will associate with England's victorious rugby team.

Read the given passage and answer the questions that follow.

The advancement of science has brought about profound changes in every aspect of our lives, from medical treatment to the way we communicate. The capacity of artificial intelligence, sometimes known as AI, to accomplish jobs that previously required human intellect has caused a revolution in a number of different sectors. The altering of organisms' genetic composition, which is made possible through genetic engineering, provides answers for issues relating to food security and renewable energy. Technologies that utilise renewable energy sources, such as solar panels and wind turbines, help to lower the emissions of greenhouse gases. Manufacturing has been radically altered with the introduction of 3D printing, and the Internet of Things (IoT) has enabled better resource management via the connection of previously disconnected ordinary products. Because of the tremendous effects these technologies have on society, their use must be carefully considered from an ethical standpoint.

In India, a majority of farmers are marginal and small, less educated and possess low adaptive capabilities to climate change, perhaps because of credit and other constraints. So, one cannot expect autonomous adaptation to climate change. Even if it was possible, it would not be sufficient to offset losses from climate change. To deal with this, adaptation to climate change is paramount, alongside a fast mitigation response. Another solution is to have a planned or policy-driven adaptation, which would require the government to come up with policy recommendations. Perception is a necessary pre-requisite for adaptation. Whether farmers are adapting agricultural practices to climate change depends on whether they perceive it or not. However, this is not always enough for adaptation. It is important how a farmer perceives the risks associated with climate change.

In 2019, India's ten largest trading partners were USA, China, UAE, Saudi Arabia, Hong Kong, Iraq, Singapore, Germany, South Korea and Switzerland. In 2018-19, the Foreign Direct Investment (FDI) in India was $64.4 billion with service sector, computer and telecom industry remains leading sectors for FDI inflows. India has free trade agreements with several nations, including ASEAN, SAFTA, Mercosur, South Korea, Japan and few others which are in effect or under negotiating stage. The service sector makes up 55.6% of GDP and remains the fastest growing sector, while the industrial sector and the agricultural sector employs a majority of the labour force. The Bombay Stock Exchange and National Stock Exchange are one of the World's largest stock exchanges by market capitalisation. India is the world's sixth-largest manufacturer, representing 3% of global manufacturing output and employs over 57 million people. Nearly 66% of India's population is rural whose primary source of livelihood is agriculture and contributes less than 50% of India's GDP. It has the world's fifth-largest foreign-exchange reserves worth Rs. 38,832.21 billion (US $540 billion). India has a high national debt with 68% of GDP, while its fiscal deficit remained at 3.4% of GDP. However, as per 2019 CAG report, the actual fiscal deficit is 5.85% of GDP. India's government-owned banks faced mounting bad debt, resulting in low credit growth; simultaneously the NBFC sector has been engulfed in a liquidity crisis. India faces high unemployment, rising income inequality and major slump in aggregate demand.

On the basis of the above passage, give answers to question

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 temperature makes them fragile. The range of items is primarily decorative, such as vases, coasters, small bowls, 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 14^th 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 17^th 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.

Directions: Read the passage given below and answer the questions that follow by choosing the correct/most appropriate options:

1. And luck, is there a thing as luck? Some people seem to have all the luck. Or is that too a matter of temperament? A nature that doesn't sue for happiness often receives it in large measure. A nature that's placid, understanding, does not suffer the same frustrations as do those who are impatient, ambitious, power-oriented.

2. Luck would seem to walk beside the healthy and those unencumbered by the daily struggle for survival. We try to summon up Lady Luck, but there are long periods when she stays away and we have to be patient and hope for her return. 'Luck be my lady tonight!' sings the gambler in the Damon Runyon story, and once in a while she does smile upon us, albeit when least expected.

3. Luck and Chance are the same thing, I suppose. I have found that Chance gives, and takes away, and gives again. And so, when things are looking dark and gloomy, I know that daybreak is not far off.

4. I have been extremely fortunate or lucky or blessed by all the gods in that I have lived to this ripe age without too much disappointment or distress. I have made a fair living, doing the thing I enjoy putting words together and telling stories - and I have been able to find people to love and live for ...

5. Was it all accidental, or was it ordained, or was it in my nature to arrive unharmed at this final stage of life's journey? I love this life passionately, and I wish it could go on and on. But all good things must come to an end, and when the time comes to make my exit I hope I can do so with good grace and humour.

Read the passage and answer the questions that follow.

The Ramayana is much shorter than the Mahabharata despite later additions. The scene is set in the middle Ganges Plain and the Vindhyan forests. The original version is attributed to the poet Valmiki, who probably brought together oral fragments and crafted them into poetry that was to become a hallmark of early Sanskrit literature. It is frequently described as the first literary composition, the adi-kavya, a description not used for the other epic, Mahabharata. The original version of the Ramayana is generally dated to the mid-first millennium B.C. The conflict between Rama and Ravana probably reflects a detailed version of local conflicts, occurring between the expanding kingdoms of the Gangetic Plain and the tribes of the Vindhyan region. The kingdom of Kosala represents the newly emerging monarchies and is a contrast to the society of the rakshasas, or the forest tribes who were demonized because their pattern of life was so different from that of the monarchies. The transference of events to a more southerly location may have been the work of a later period, reflecting an expanded geography, as was possibly also the case in the depiction of Lanka itself as a city of immense wealth.