Madhya Pradesh Mixed Quiz: Set 16

Tansen was born Ramtanu Pandey in the village of Behat near Gwalior, learnt from Swami Haridas of Vrindavan and from the Sufi Muhammad Ghaus of Gwalior, served the court of Rewa and was then taken by Akbar into his own court, where he was counted among the nine jewels.

The jyotirlinga at Ujjain is installed facing south, which is why it is called Dakshinamukhi, and it is the only one of the twelve with that orientation.

Chanderi lies in Ashoknagar district, in the Betwa belt on the old boundary between Malwa and Bundelkhand, and its weavers make the light, glossy, almost transparent Chanderi fabric in cotton, in silk and in the silk and cotton mix for which the town is best known.

Simha is the Sanskrit name of Leo, and the Ujjain fair takes its name from the entry of Jupiter into that sign, with the Sun in Aries; the combination falls in the month of Vaisakha, so the Ujjain Kumbh is a Vaisakha fair rather than a winter one.

The Tansen Samaroh is held in the winter at the musician's birthplace of Behat and at his tomb in Gwalior, and the National Tansen Samman for Hindustani classical music is conferred during it.

The States Reorganisation Commission of 1953 was chaired by Justice Fazl Ali, with K. M. Panikkar and H. N. Kunzru as its two members.

Maheshwar stands on the north bank of the Narmada in Khargone district and was the capital of Ahilyabai Holkar in the eighteenth century.

The archaeologist Vishnu Shridhar Wakankar noticed the shelters in the Vindhyan foothills of Raisen district in 1957 and began the study of their paintings, made in red and white ochre and showing hunters, dancers, animals and later riders with weapons.

Man Singh Tomar ruled Gwalior at the end of the fifteenth and beginning of the sixteenth century and was the great patron of dhrupad, drawing singers to his court and encouraging composition in the spoken language rather than in Sanskrit alone.

Rose commanded the Central India Field Force, which marched from Mhow, reduced Rahatgarh and Garhakota, relieved Sagar, forced the Madanpur pass of the Vindhyas, took Jhansi in April 1858 and finally recovered Gwalior fort in June 1858.

Ahilyabai Holkar ruled Malwa from Maheshwar in the eighteenth century and is credited with establishing the weaving of the town, bringing in weavers and having borders designed from the carving of the local temples and fort.

Avanti was one of the sixteen mahajanapadas of the sixth century before Christ, and it was divided into two parts: the north, ruled from Ujjayini or Ujjain, and the south, ruled from Mahishmati, which is identified with Maheshwar on the Narmada.

Matki is danced by the women of Malwa and the adjoining Nimar at weddings and other family celebrations, with an earthen pot held on the head while the dancer turns to the beat of the dhol.

Garha-Katanga, the Gond kingdom around Jabalpur and Mandla, was ruled by Rani Durgavati as regent for her young son Bir Narayan after the early death of her husband Dalpat Shah.

Bagh print takes its name from the village of Bagh in Dhar district, where the Khatri families print cotton and silk with hand cut wooden blocks and dye it in vegetable colours, chiefly alizarin from the madder root for red and indigo for blue.

At the close of the third Anglo-Maratha war the Holkar state signed the Treaty of Mandsaur in 1818, accepting British protection and a subsidiary relationship, after which Indore settled into its position as a princely state of central India under the Central India Agency.

Rai is the signature dance of Bundelkhand in the north-east of the state, danced by a woman of the Bedni community who whirls to an accelerating beat of the nagariya and the mridang while the audience calls for more.

The Kadaknath is a breed of fowl of the Jhabua and Alirajpur tribal belt in western Madhya Pradesh, with dark flesh, dark bones and a very low fat content, and it is reared by the Bhil and Bhilala families of the region.

Maach is the folk theatre of Malwa, played through the night on a raised wooden platform, which is what the name itself means.

Gond painting belongs to the Gond people of the eastern districts of the state, chiefly Dindori and Mandla, where it began as a decoration of the mud wall and the floor and moved to paper and canvas in the late twentieth century.