In-Text Questions and Activities
Page 1 (The Big Questions)
1. Why is the period that followed the Maurya empire sometimes called the ‘Age of Reorganisation’?
Ans: This period is called the ‘Age of Reorganisation’ because after the large Maurya empire broke up, the existing regions were reorganised into many new, smaller kingdoms. These new kingdoms were constantly competing with each other to become powerful, which changed the map of India.
2. What were the values or principles that guided emperors of that period?
Ans: Emperors of that period were often guided by the following values:
- Justice: They believed it was the ruler’s dharma (duty) to protect justice for the people.
- Welfare of Subjects: Many kings showed great concern for the well-being of the people they ruled.
- Religious Tolerance: Rulers like King Khāravela and the Pandya kings took pride in respecting and protecting all schools of thought and belief, including different religions. This is described as a fundamental part of the ‘Indian ethos’.
3. How did foreign invaders assimilate into Indian society and contribute to cultural confluence?
Ans: Foreign invaders, like the Indo-Greeks and the Kushāņas, assimilated (blended in) by adopting local Indian culture.
- They were influenced by Indian religions. For example, an Indo-Greek ambassador praised the Indian god Vasudeva, and some of their coins showed Indian gods like Krishna and Lakshmi.
- The Kushāņa king Kanishka put images of Buddha and Shiva on his coins.
- This led to a “cultural confluence,” or a mixing of cultures. A great example is the art of that time. The Gandhāra school of art was a fusion, or blend, of Indian and Greek styles.
Page 2 (LET’S EXPLORE)
1. Create a timeline on a sheet of paper marking the period from the first year of the 2nd century BCE and ending in the last year of the 3rd century CE.
Ans: (This is an activity for you to do on paper. You should draw a long line. On the left side, mark ‘200 BCE’. In the middle, mark ‘1 CE’. On the right side, mark ‘300 CE’.)
2. How many years does this period cover? As we progress through the chapter, mark the key individuals, kingdoms and events on the timeline.
Ans: This period covers 500 years. (It includes 200 years from the 2nd century BCE to 1 CE, and 300 years from 1 CE to the end of the 3rd century CE. 200 + 300 = 500).
Page 3 (LET’S REMEMBER)
1. While working on the timeline, did you notice the transition from BCE to CE? Remember what you learned in the Grade 6 chapter ‘Timeline and Sources of History’ about how time is measured in history.
Ans: Yes, the timeline crosses from BCE (‘Before Common Era’) to CE (‘Common Era’). This is the time when the numbering of the years resets. The year 1 BCE is followed by the year 1 CE.
Page 4 (LET’S EXPLORE)
1. In the previous chapter, you studied the map of the Maurya empire (see page 100). Above is a map of the post-Maurya period. How many kingdoms can you count in the area that were previously under the control of the Maurya empire?
Ans: Based on the map on page 3 and the text, we can count several kingdoms in the area that was once controlled by the Mauryas. The main ones shown are:
- Śhungas
- Sātavāhanas
- Chedis
- Indo-Greeks
- Śhakas
- Kushāņas
(The southern kingdoms—Cheras, Cholas, and Pandyas—were generally independent even during the Maurya empire).
Page 8 (LET’S EXPLORE)
1. Below is a panel from the Bharhut Stūpa. Look at the two figures on the right. What are they doing? Can you guess their profession? Notice their attire. What does this tell us about them? List other details that you notice in the panel and discuss your findings in class.
- What are they doing? The two figures on the right are playing musical instruments. One is playing a stringed instrument (like a harp), and the other is playing a drum.
- Profession: Their profession is most likely musicians or performers.
- Attire: They are wearing simple draped clothing and some ornaments. This might be the typical dress for performers of that time.
- Other details: On the left, there is a large, beautifully decorated wheel, which might be the dharma wheel. The entire panel is a stone carving with a decorative border at the bottom.
2. Look closely at the pictures in the collage in Fig 6.6 (on the previous page). In a note, write down your observations on the clothes, the jewellery, and other objects of daily use.
- Clothes: People wear clothes that are draped, like dhotis. Some male figures have bare chests, while female figures wear draped clothes and have very detailed hairstyles or head coverings.
- Jewellery: The figures wear a lot of jewellery, including large bangles, necklaces, beads, and fancy hair ornaments.
- Objects of daily use: The collage shows objects like a beautifully carved vase, an ivory comb, and a fan, which tells us about the items they used.
Page 10 (THINK ABOUT IT)
1. What, according to you, could the tradition of using the mother’s name at the beginning of a king’s name signify?
Ans: This tradition, used by the Sātavāhana kings, could signify that mothers and women held a very important and respected position in the royal family and society. The book gives the example of King Gautamīputra Satakarņi, who was named after his mother, Gautamī Balaśhrī, who was a “powerful queen” herself.
2. In the above series of numerals, which ones look somewhat like our modern numerals? Which ones don’t?
Ans:
- Look similar: The ancient symbols for 1, 2, 6, and 7 look somewhat like the numbers we use today.
- Look different: The ancient symbols for 4, 9, and 10 look very different from our modern numbers.
Page 11 (THINK ABOUT IT)
1. This sculpture of a yaksha from Pitalkhora carries an inscription on its hand, kanhadāsena hiramakarena kāţa meaning ‘made by Kanahadasa, a goldsmith’. Is it not interesting to see that a goldsmith could also craft a sculpture made of stone? What do you think this tells us about people’s professions at the time?
Ans: This tells us that people’s professions were not always strict or limited to just one thing. An artisan, like a goldsmith, could be highly skilled in more than one craft. It shows that they were versatile and talented, able to work with different materials like both precious metal (gold) and stone.
Page 13 (THINK ABOUT IT)
1. Notice the regularity of the rock-cut chambers sculpted nearly two millennia ago. How did artisans achieve such precision with just a chisel and a hammer? Picture yourself as a sculptor in that era, shaping stone into art with your own hands. What tools would you use?
Ans:
- How they achieved precision: Artisans likely achieved such precision through incredible skill, careful planning, and a lot of practice that was passed down through generations. They must have used simple measurement tools and guides to make sure all the rooms and pillars were straight and regular.
- Tools I would use: If I were a sculptor in that era, I would use the tools mentioned: hammers (or mallets) and chisels of many different sizes—sharp, pointed ones for cutting deep into the rock and flat, wide ones for smoothing the surfaces.
2. In the map given on next page, you may notice different symbols alongside the names of the kingdoms. What do these symbols represent? Think about how they highlight the unique identities of the kingdoms.
Ans: The symbols are shown on flags and represent the royal emblems (or logos) of each kingdom.
- The Chola emblem is a Tiger.
- The Chera emblem is a Bow and Arrow.
- The Pandya emblem is a pair of Fish. These symbols highlight their unique identities by giving each kingdom a special sign that everyone could recognize, showing their power and specific identity.
Page 16 (THINK ABOUT IT)
1. Observe the statue of the king. How is he depicted? What do his posture, clothing, and expression say about his power and status?
Ans:
- How he is depicted: The statue of King Karikāla shows him standing tall and strong.
- Posture, clothing, and expression: He wears clothing that looks royal. His posture is confident and his expression is serious and proud. All these details together—the strong stance, royal clothes, and proud look—show that he is a powerful king with a high status.
Page 17 (THINK ABOUT IT)
1. Have you ever wondered how historians uncover the trade relations between two distant kingdoms many centuries ago? Let’s take a moment to brainstorm and discuss how this information comes to light.
Ans: Historians find clues about ancient trade in several ways:
- Archaeology: They find objects from one kingdom in the lands of another. For example, finding Roman coins in India.
- Coins: They study the coins made by kings. Sātavāhana coins showed ships, which tells us they traded by sea.
- Ancient Writings: They read books and records from that time. The Greek writer Megasthenes wrote in his book Indika that the Pandyas traded with the Greeks and Romans.
- Inscriptions: They study carvings on stone. The Naneghat Caves were on a trade route and had inscriptions about the collection of tolls (taxes) from traders.
2. The Chera kings issued a number of coins under their reign. Do you notice the royal emblem of Cheras on one such coin given below?
Ans: Yes, if you look at the map on page 14, the Chera emblem is a bow and arrow. One of the coins shown in the picture (Fig. 6.18) clearly has the carving of a bow and arrow on it.
Page 18 (THINK ABOUT IT)
1. The Pandyas were known for their pearls. Why do you think pearls were an important article of trade during these times?
Ans: Pearls were an important trade item because they were rare, beautiful, and considered a luxury. They were valuable but also small and light, making them easy to transport over long distances. Rich people in faraway places, like the Roman Empire, wanted to buy pearls for jewellery and to show off their wealth, so there was a high demand for them.
Page 19 (LET’S EXPLORE)
1. What do you think might have been the meaning of having deities like Vasudeva-Krishna or Lakshmi on some Indo-Greek coins?
Ans: Having Indian gods like Vasudeva-Krishna and Lakshmi on their coins probably means that the Indo-Greek rulers were influenced by the local Indian culture and religions. It might have been a way for them to show respect for the beliefs of the Indian people they ruled, which would help them be accepted as rulers. It could also mean that some of the rulers or their followers started to worship these Indian gods themselves.
Page 20 (LET’S EXPLORE)
1. Carefully observe this massive statue (1.85 m high) and notice the clothing, weapon, and footwear. What does it tell us about this figure?
Ans: The statue (of King Kanishka) is wearing a long, heavy coat and thick, heavy boots. He is also holding a large weapon (a mace or sword). This clothing is not typical for hot Indian weather. It tells us that this figure is a powerful warrior or king who likely came from a colder region (Central Asia). The weapon and his title, “king of kings,” show he was a very powerful ruler.
2. Observe the coins carefully. Who, besides the emperor, appears on the coin?
Ans: Besides the emperor (King Kanishka), the coins show religious figures (deities).
- One coin features the Buddha.
- Another coin features the Hindu god Shiva along with his bull, Nandi.
Page 21 (LET’S REFLECT & THINK ABOUT IT)
1. Why would a powerful ruler feature Buddha and Shiva on his coins?
Ans: A powerful ruler like Kanishka would feature Buddha and Shiva on his coins to show that he respected and supported the different religions in his vast empire. His empire had people with many different beliefs (like Buddhists and Hindus). This was a way to show his tolerance and to unite the people under his rule.
2. What does it say about his values and priorities?
Ans: This says that his values included religious tolerance and an appreciation for different cultures. It shows that his priorities were not just military conquest, but also supporting art and culture and making sure the various groups of people in his empire could co-exist peacefully.
3. Can you find modern examples of such symbolic currency?
Ans: Yes, modern coins and notes often have symbols that represent the country’s values or history. For example, Indian currency notes have a picture of Mahatma Gandhi, who represents peace and the nation’s independence movement. Indian coins feature the Lion Capital of Ashoka, which is the national emblem.
4. Do you know where Gāndhāra is? Does it remind you of a character from the epic Mahābhārata?
Ans:
- Where is Gāndhāra? Gāndhāra was an ancient region in the northwestern part of the Indian subcontinent, in the area of modern-day Pakistan and Afghanistan.
- Mahābhārata character: Yes, it reminds me of Gandhari, the wife of King Dhritarashtra and the mother of the Kauravas. She was the princess of the Gāndhāra kingdom.
Page 24 (LET’S EXPLORE)
1. Now that you are familiar with the basic characteristics of the Mathura and Gandhāra styles of art, study the pictures of artefacts given in Fig. 6.27 on the right page and try to identify which school of art each artefact belongs to. Write your observations with justifications and discuss your answers with your classmates.
Ans: Here is an identification of the art styles based on the clues (Gandhāra = grey-black stone, Greek-style realistic robes; Mathura = red sandstone, Indian style, fuller figures):
- Fig. 6.27.1 (Death of Buddha): This looks like the Gandhāra style. The stone appears grey, and the figures are carved in a very realistic way with detailed, flowing robes.
- Fig. 6.27.2 (Bodhisattva Maitreya): This also looks like the Gandhāra style. The stone is greyish, and the realistic features and flowing robes show a clear Greek influence.
- Fig. 6.27.3 (Shiva linga): This is the Mathura style. The devotees have fuller figures and a more distinct Indian look.
- Fig. 6.27.4 (Nāga): This looks like the Mathura style. The stone appears to be the red sandstone, and the figures are rounder and look more Indian.
- Fig. 6.27.5 (Kartikeya and Agni): This looks like the Mathura style. The stone seems reddish, and the figures are strong and sculpted in an Indian style.
- Fig. 6.27.6 (Standing Buddha): This looks like the Gandhāra style. The robe is the biggest clue, as it is carved with many realistic and delicate folds, just like a Greek statue.
End-of-Chapter Exercise Questions
1. Why was the post-Maurya era also known as the era of reorganisation?
Ans: The post-Maurya era was known as the “era of reorganisation” because the huge Maurya empire broke apart about half a century after Ashoka. This breakup led to the emergence of many new, smaller kingdoms all across the subcontinent. The old regions were “reorganised” into these new kingdoms, which often competed with each other for land and power. This period also saw invasions from the northwest. All these political changes led to a new political map of India, which is why it is called the age of reorganisation.
2. Write a note on the Sangam literature in 150 words.
Ans: Sangam literature is a very important and ancient collection of poems from south India. It is the oldest literature in south India, written mostly between the 2nd or 3rd century BCE and the 3rd century CE. This entire period is now called the “Sangam Age” because of this literature.
The word ‘Sangam’ comes from the Sanskrit word sangha, which means ‘association’. It refers to the great assemblies of poets who came together to create these works.
This literature is very valuable to historians because it gives us a peek into the society, culture, and life of people in south India during that time. The poems are famous for their skill and beauty. They mainly talk about two kinds of topics: personal feelings, especially love, and societal values, such as heroism on the battlefield and the importance of being generous. The Sangam poems also tell us about the three “crowned kings” of the south: the Cholas, the Cheras, and the Pandyas.
3. Which rulers mentioned in this chapter included their mother’s name in their title, and why did they do so?
Ans: The Sātavāhana rulers included their mother’s name in their title. For example, the famous king Gautamīputra Satakarņi was named after his mother, Gautamī Balaśhrī.
They likely did this to show the high status and importance of women, especially mothers, in the royal family. The book mentions that Gautamī Balaśhrī was a “powerful queen” who had her own inscriptions carved and even donated land to monks. Using the mother’s name was a way to show this respect and honor.
6. You have read about the architectural developments of the post-Maurya era. Take an outline of the Indian subcontinent and mark the approximate locations of some of the ancient structures mentioned in this chapter.
Ans: (Here are the places you should find and mark on an outline map of India):
- Bharhut Stūpa: In Madhya Pradesh (Central India).
- Heliodorus Pillar: Near Vidisha, in Madhya Pradesh (Central India).
- Mathurā: In Uttar Pradesh (North India).
- Udayagiri-Khandagiri Caves: Near Bhubaneswar, in Odisha (East India).
- Naneghat Caves: Near Pune, in Maharashtra (Western India/Deccan).
- Karla Caves: Near Lonavala, in Maharashtra (Western India/Deccan).
- Pitalkhora Caves: In Maharashtra (Western India/Deccan).
- Amrāvatī: In Andhra Pradesh (South-East India).
- Kallaņai (Grand Anicut): On the Kaveri River, in Tamil Nadu (South India).
- Madurai: In Tamil Nadu (South India).
- Vanji (Karur): In Tamil Nadu (South India).
- Gandhāra: (This region is outside modern India) In the northwest, in present-day Pakistan and Afghanistan.