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In the context of Hinduism, what is the primary definition of a murti?
Answer: True
A murti is fundamentally understood as a devotional image, typically a statue or icon, which serves as a representation of a deity or revered saint. These images are integral to worship practices and are commonly housed in temples or domestic shrines.
What is the literal meaning of the Sanskrit word 'murti', and how does it contrast with abstract concepts?
Answer: False
The Sanskrit word 'murti' literally translates to 'form, embodiment, or solid object.' In ancient Indian literature, this term was employed to distinguish physical, tangible entities from abstract concepts such as thought or the immaterial.
Are all decorative carvings and paintings within temple architecture classified as murtis?
Answer: False
No, not all depictions of divine figures or motifs are classified as murtis. Purely decorative elements, such as carvings on doorframes or paintings on walls, are distinct from murtis, which are specifically devotional images intended for worship.
Are the Sanskrit terms 'vigraha' and 'pratima' sometimes employed synonymously with 'murti' in Hindu traditions?
Answer: True
Yes, the terms 'vigraha' and 'pratima' are indeed used interchangeably with 'murti' in various Hindu traditions, often referring to deity images or idols.
Are 'bera' and 'vigraha' general terms encompassing any idol or statue, including paintings?
Answer: False
No, 'bera' or 'bimba' specifically refers to an 'idol of god,' and 'vigraha' is synonymous with 'bimba.' While 'pratima' can include paintings, these terms are more specific than general references to any idol or statue.
Is it accurate to state that the term 'pratima' can refer to any idol or statue, but never to paintings?
Answer: False
This statement is false. While 'pratima' can refer to idols and statues, the provided text indicates it can also encompass paintings of objects.
What is the fundamental definition of a murti within the context of Hinduism?
Answer: A devotional image or statue representing a deity or saint.
A murti is fundamentally defined as a devotional image, typically a statue or icon, representing a deity or saint, used in worship and found in temples or home shrines.
How does the literal meaning of the Sanskrit word 'murti' relate to its historical usage in ancient Indian literature?
Answer: It means 'form' or 'solid object' and distinguished physical from abstract.
The Sanskrit word 'murti' literally translates to 'form' or 'solid object.' This meaning was used in ancient literature to differentiate tangible, physical entities from abstract concepts.
According to the provided text, which of the following is explicitly NOT classified as a murti?
Answer: Decorative carvings on a temple's exterior walls.
While statues and carved images used in worship are considered murtis, purely decorative carvings on temple architecture are explicitly stated as not being classified as murtis.
Besides 'murti', what other Sanskrit term is mentioned as being used synonymously for a deity's idol or image?
Answer: Vigraha
The terms 'vigraha' and 'pratima' are mentioned as being used synonymously with 'murti' in Hindu traditions, referring to deity images or idols.
According to the provided text, what is the primary distinction between the terms 'murti' and 'pratima'?
Answer: 'Pratima' can include paintings, while 'murti' refers strictly to statues.
The primary difference lies in their scope: 'murti' generally refers to any idol or statue, whereas 'pratima' can encompass murtis as well as paintings of objects, whether anthropomorphic or not.
Is the earliest textual mention of the term 'murti' found in the Rig Veda?
Answer: False
No, the earliest textual mentions of 'murti' are found in primary Upanishads composed in the first millennium BCE, not the Rig Veda.
Did Vedic-era worship involve elaborate murti rituals in temples, similar to later practices?
Answer: False
No, Vedic-era worship was characterized by 'yajna' rituals and hymns, with no evidence of murtis or temples. Elaborate murti rituals in temples became prevalent in later periods.
Does Panini's work, dating to around the 4th century BCE, provide the earliest firm textual evidence for deity images, distinguishing between movable and immovable types?
Answer: True
Yes, Panini's work is cited as providing the earliest firm textual evidence for deity images ('Acala' and 'Cala'), distinguishing between immovable and movable types.
Do archaeological findings suggest that sculpture development in India predates the 3rd century BCE Maurya Empire?
Answer: False
Archaeological evidence supports the development of sculpture in India by the Maurya Empire period (around the 3rd century BCE), aligning with textual evidence for the existence of murtis during that era.
By the early 1st millennium BCE, did the term 'murti' specifically refer to idols and statues?
Answer: True
Yes, by the early 1st millennium BCE, the term 'murti' had evolved to specifically denote idols and statues, as evidenced in various texts and inscriptions.
Which Upanishads are cited as containing the earliest textual references to the term 'murti'?
Answer: Aitareya Upanishad, Shvetashvatara Upanishad, and others
The earliest textual mentions of the term 'murti' are found in primary Upanishads composed during the first millennium BCE, including the Aitareya Upanishad, Shvetashvatara Upanishad, Maitrayaniya Upanishad, and Prashna Upanishad.
How did worship practices in the Vedic era fundamentally differ from those in the later period characterized by the prevalence of murtis?
Answer: Vedic worship used yajna rituals with no murtis or temples.
During the Vedic era, worship primarily involved hymns and 'yajna' rituals directed towards nature and abstract deities, with no evidence of murtis or temples. Worship practices evolved significantly in later periods to incorporate murtis and temple structures.
What did Panini's mention of 'Acala' and 'Cala' imply regarding early practices involving deity images?
Answer: Both stationary (shrine) and movable (processional) images were in use.
Panini's distinction between 'Acala' (immovable images, likely housed in shrines) and 'Cala' (movable images, used for processions) suggests that by the 4th century BCE, established practices involved both stationary and processional deity images.
Do ancient texts such as the Puranas and Agamas provide guidelines for the creation of murtis, detailing their proportions and gestures?
Answer: True
Yes, ancient texts like the Puranas and Agamas offer comprehensive guidelines for the creation of murtis, specifying their proportions, positions, and gestures.
Do Hindu murtis exclusively display 'saumya' (calm) expressions, solely to promote peace and harmony?
Answer: False
No, Hindu murtis do not exclusively display 'saumya' expressions. They can also feature 'ugra' (fierce) expressions, which convey destruction, fear, or violence, alongside 'saumya' expressions that symbolize peace and harmony.
Are deities such as Durga and Kali typically depicted with 'saumya' (peaceful) expressions?
Answer: False
No, deities like Durga and Kali are typically depicted with 'ugra' (fierce or angry) expressions, symbolizing power and destruction, rather than 'saumya' expressions of peace.
Is the 'lingam,' representing Lord Shiva, considered an aniconic form of murti in Hinduism?
Answer: True
Yes, the 'lingam,' a symbolic representation of Lord Shiva, is considered an aniconic (non-representational) form of murti within Hinduism.
What are the two main categories of murti expressions described in the text?
Answer: True
The two main categories are 'ugra' (or 'raudra'), which are terrifying and symbolize destruction or violence, and 'saumya' (or 'shanta'), which are peaceful and express virtues like love and compassion.
Are the 'Shilpa Shastras' ancient texts that provide detailed instructions for creating murtis?
Answer: True
Yes, the 'Shilpa Shastras' are canonical manuals that provide detailed guidelines for creating murtis, specifying materials, measurements, proportions, decoration, and symbolic meaning.
Are the 'Agamas' and 'Tantras' primarily concerned with philosophical interpretations of murtis, rather than their consecration and creation?
Answer: False
No, the 'Agamas' and 'Tantras' are liturgical handbooks that detail the metaphysical significance of each manufacturing stage for murtis and prescribe specific mantras for consecration, invoking the deity's power into the sculpture.
Do ancient texts recommend materials such as gold, silver, copper, stone, wood, stucco, marble, and earth for murti construction?
Answer: True
Yes, ancient texts identify nine primary materials for murti construction, including gold, silver, copper, stone, wood, stucco, marble, and earth (clay/terracotta).
Did the 'Brihat Samhita' provide specific guidelines on the proportional relationship between a murti's height and the temple's overall size?
Answer: True
Yes, the 'Brihat Samhita' specified that the height of a 'pratima' (murti) should be a certain fraction of the sanctum's door height and described ratios between the murti's height, the sanctum room's width, and its pedestal.
Do the 'Agamas' distinguish between 'bimba murti' (physical image) and 'mantra murti' (associated rituals and hymns)?
Answer: True
Yes, according to the Agamas, 'bimba murti' (the physical image) is distinguished from 'mantra murti' based on the specific rituals, gestures, hymns, and offerings associated with each.
According to the Brihat Samhita, what is the recommended proportion for the height of a murti relative to the sanctum door?
Answer: True
The Brihat Samhita specifies that the height of a 'pratima' (murti) should be approximately seven-eighths (7/8) of the height of the sanctum sanctorum's door.
Does the Brihat Samhita include a specific prayer to be recited before cutting down a tree intended for murti construction?
Answer: True
Yes, the Brihat Samhita contains a prayer to be recited to the tree selected for murti construction, acknowledging its sacred purpose and seeking forgiveness for disturbing its inhabitants.
What categories of ancient texts provide guidance on the creation and iconography of murtis?
Answer: The Puranas, Agamas, and Samhitas
Ancient texts such as the Puranas, Agamas, and Samhitas provide detailed guidelines concerning the proportions, positions, and gestures for the creation of murtis.
Which term describes an expression on a murti that conveys destruction, fear, or violence?
Answer: Ugra
The term 'ugra' (or 'raudra') refers to expressions on a murti that are meant to be terrifying and symbolize destruction or violence.
Which deity is cited as an example of typically being depicted with an 'ugra' (angry or fierce) expression?
Answer: Kali
Deities such as Durga and Kali are often depicted with 'ugra' or angry expressions, symbolizing their fierce power and destructive aspects.
In the context of Hindu iconography, what is the 'lingam' considered in relation to murtis?
Answer: An aniconic (non-representational) form of murti.
The 'lingam,' a symbolic representation of Lord Shiva, is considered a form of murti within Hinduism, specifically representing divinity in an aniconic, or non-representational, manner.
Which text, dated approximately to the 6th century CE, is cited as an encyclopedia that provides guidelines on murti dimensions and temple architecture?
Answer: The Brihat Samhita
The 'Brihat Samhita,' a comprehensive encyclopedia from the 6th century CE, includes detailed guidelines pertaining to the dimensions and proportions of murtis in relation to temple architecture.
What are the 'Shilpa Shastras' in the context of Indian artistic traditions?
Answer: Canonical manuals detailing murti creation guidelines.
The 'Shilpa Shastras' are canonical texts that provide comprehensive and detailed instructions for the creation of murtis, specifying materials, measurements, proportions, decoration, and symbolic elements.
Is it accurate that for some Hindus, a murti is viewed as the ultimate reality (Brahman) itself, rather than merely a representation?
Answer: False
No, the text clarifies that for some Hindus, a murti is viewed as a symbol or embodiment used for contemplating Brahman, not Brahman itself.
Does the Vāstusūtra Upaniṣad suggest that murti art assists devotees in contemplating the Ultimate Supreme Principle (Brahman)?
Answer: True
Yes, the Vāstusūtra Upaniṣad asserts that murti art, founded on principles of cosmic creation, serves to inspire devotees towards contemplating the Ultimate Supreme Principle (Brahman).
According to the Vāstusūtra Upaniṣad, do images primarily serve to distract the devotee's mind from spiritual matters?
Answer: False
No, the Vāstusūtra Upaniṣad states that images provide an uplifting influence, guiding the devotee's mind away from wrong imaginations and towards spiritual understanding, rather than distracting from it.
Is it true that Hindus who have achieved self-realization do not require divine images for their spiritual practice?
Answer: True
Yes, the text suggests that Hindus who have attained self-realization and understand the Universal Principle within themselves may not require temples or divine images for their spiritual practice.
Does the Vāstusūtra Upaniṣad portray artists creating murtis as mere craftspeople executing instructions?
Answer: False
No, the Vāstusūtra Upaniṣad suggests that artists ('Silpins' or 'Sthapakas') draw inspiration from sages and their work is akin to the divine creator, viewing them not as mere craftspeople but as conduits of cosmic creation.
Does the Bhagavad Gita suggest that focusing on the unmanifested God is easier for most humans than focusing on God with form (a murti)?
Answer: False
No, the Bhagavad Gita suggests the opposite: focusing on God with form (like a murti) is generally easier for humans than concentrating on the unmanifested, formless aspect of the divine.
According to the Vāstusūtra Upaniṣad, do murtis play a role in fostering steadfast devotion and leading towards spiritual realization ('moksha')?
Answer: True
Yes, the Vāstusūtra Upaniṣad states that murtis help foster steadfast devotion and guide the mind, ultimately leading towards spiritual realization or 'moksha'.
How do some Hindus conceptualize the relationship between a murti and the ultimate reality (Brahman)?
Answer: As a symbol or embodiment used for contemplating Brahman.
For some Hindus, a murti is viewed not as Brahman itself, but as a symbolic representation or embodiment used as a focal point for devotion and contemplation of the ultimate reality, Brahman.
According to the Vāstusūtra Upaniṣad, what is identified as a key role of murtis in facilitating spiritual development?
Answer: To guide the devotee's mind away from wrong imaginations.
The Vāstusūtra Upaniṣad posits that murtis serve to dispel erroneous imaginations and guide the devotee's mind, thereby fostering delight, faith, and steadfast devotion, which are considered pathways toward spiritual realization ('moksha').
According to the Bhagavad Gita, which aspect of the divine is generally considered easier for humans to focus upon?
Answer: The manifested, form-based aspect (like a murti).
The Bhagavad Gita suggests that focusing on God with form (exemplified by a murti) is generally more accessible for humans than concentrating on the unmanifested, formless aspect of the divine, primarily due to our inherent reliance on sensory perception.
Are 'utsava murti' permanent statues installed in temples for daily worship?
Answer: False
No, 'utsava murti' are specifically murtis used as the central focus during annual festive processions, distinct from permanent statues installed for daily worship.
Is the 'Prana pratishta' ceremony a ritual intended to remove the deity's presence from a murti after worship?
Answer: False
No, the 'Prana pratishta' ceremony is performed to infuse a murti with divine vital energy and consecrate it, inviting the deity's presence, not to remove it.
In daily worship practices, are murtis often treated as revered guests, involving rituals such as awakening and dressing them?
Answer: True
Yes, in many Hindu traditions, murtis are treated with the reverence due to a guest. Daily rituals can include awakening the deity, washing, dressing, and adorning the murti, reflecting a personal and devotional relationship with the divine.
Does 'darshan' refer to the ritualistic bathing of the murti during temple ceremonies?
Answer: False
No, 'darshan' refers to the act of witnessing the murti and seeking a visual connection with the deity. Ritualistic bathing is a separate practice known as 'abhishekam'.
In domestic rituals, is 'Prana pratishta' performed only once to permanently consecrate the murti for ongoing worship?
Answer: False
No, in domestic rituals, 'Prana pratishta' is typically performed each time a puja is conducted to invoke the deity's presence into the murti. The deity is then dispersed back, unlike the permanent consecration in temples.
Does the act of 'darshan' primarily involve the murti bestowing blessings upon the devotee?
Answer: False
No, 'darshan' is primarily the act of the devotee witnessing the murti and seeking a visual connection with the deity. While blessings are often sought and received, the core act is the mutual seeing between devotee and deity.
What is the specific purpose of an 'utsava murti' in Hindu practice?
Answer: Use as the central focus during annual festive processions.
'Utsava murti' are specific forms of murtis designated for use as the central focus during annual festive processions, enabling broader participation in religious celebrations.
What is the primary purpose of the 'Prana pratishta' ceremony?
Answer: To infuse a murti with divine vital energy.
The 'Prana pratishta' ceremony is a ritual performed to infuse a murti with divine vital energy and consecrate it, inviting the deity's presence into the sculpture.
What is 'darshan' in the context of interacting with or worshipping a murti?
Answer: The act of witnessing the murti, seeking a visual connection with the deity.
'Darshan' signifies the act of witnessing the adorned murti, a pivotal devotional practice where devotees seek a profound visual connection with the deity represented.
Is murti worship exclusive to the Hindu faith, with no presence in other religious traditions?
Answer: False
No, murti worship is not exclusive to Hinduism. The text notes that similar practices are found in some Jain traditions.
Were temples housing 'ugra' murtis typically located within villages, while 'saumya' murtis were placed in remote areas?
Answer: False
No, the opposite is stated: temples housing 'ugra' or 'raudra' murtis were usually located outside villages or in remote areas, whereas temples with 'shanta' and 'saumya' images were predominantly within villages and towns.
Are regional variations in the dress and decoration of murtis discouraged by traditional texts?
Answer: False
No, traditional texts generally recommend following accepted regional variations in dress, decoration, and dimensions, allowing for artistic expression within established guidelines.
Is white marble the predominant material for murtis in South India, while black granite is common in the North?
Answer: False
No, the text states the opposite: black granite is predominantly used for murtis in South India, while white marble is more common in North India.
Did colonial-era Christian missionaries view murtis positively, considering them sophisticated religious art?
Answer: False
No, colonial Christian missionaries typically viewed murtis negatively, characterizing them as 'idolatry' and 'monstrous devils,' rather than as sophisticated religious art.
Did colonial authorities sometimes display seized Indian murtis in the UK as trophies?
Answer: True
Yes, colonial British authorities occasionally displayed seized Indian murtis in the UK, often framing them as 'trophies' and claiming Hindus had abandoned 'idolatry'.
Did both Dayananda Saraswati and Swami Vivekananda defend the use of murtis in Hindu worship?
Answer: False
No, this statement is false. Dayananda Saraswati denounced murtis, while Swami Vivekananda defended their use, comparing them to symbols in other religions.
Does the Arya Samaj denomination fully embrace and promote the worship of murtis?
Answer: False
No, the Arya Samaj is mentioned as a denomination that rejects idol worship and the use of murtis.
Did colonial literature consistently portray Hindu murti worship as indicative of an advanced civilization?
Answer: False
No, colonial literature often depicted Hindu murti worship negatively, characterizing it as primitive, superstitious, or 'idolatry,' rather than a sign of advanced civilization.
Were murtis and temples frequently destroyed during periods of religious conflict between Islamic and Hindu powers starting in the 12th century?
Answer: True
Yes, murtis and temples were frequently targeted for destruction during periods of religious conflict, particularly during raids and wars between Islamic and Hindu powers in South Asia, commencing from the late 12th century CE.
Do Jain scholars argue that icons are unnecessary for spiritual pursuits, as focus should be solely on internal realization?
Answer: False
Jain scholars argue that icons are necessary for spiritual endeavors, functioning as tools that aid human beings in learning and focusing their thoughts, making them integral to spiritual pursuits.
In which non-Hindu religious tradition are murtis also found, serving as symbols of revered figures?
Answer: Jainism
The text notes that murtis are also found in some non-theistic Jain traditions, where they function as symbols of revered figures within Jain temples and are part of 'murtipujaka' rituals.
Where were temples housing 'ugra' or 'raudra' murtis typically located in relation to settlements?
Answer: Outside villages or in remote areas
Temples dedicated to deities represented by 'ugra' or 'raudra' murtis were generally situated outside villages or in remote areas, distinguishing them from temples housing 'saumya' murtis.
According to the provided text, which material is predominantly used for murtis in South India?
Answer: Black Granite
The text indicates that black granite is the predominant material used for murtis in South India, contrasting with white marble commonly used in North India.
How did colonial Christian missionaries typically characterize Hindu murtis?
Answer: As 'idolatry,' 'monstrous devils,' or 'eroticized bizarre beings.'
Colonial Christian missionaries frequently characterized murtis negatively, employing terms such as 'idolatry,' 'monstrous devils,' or 'eroticized bizarre beings' to denigrate the practice.
Which prominent Hindu reformer is noted for defending the use of murtis, drawing parallels to symbols employed in other religious traditions?
Answer: Swami Vivekananda
Swami Vivekananda defended the use of murtis, arguing that images serve as necessary mental aids for devotion, comparable to symbols employed in other religions, such as the Christian cross. Dayananda Saraswati, conversely, denounced murtis.
Which specific Hindu denomination is mentioned as rejecting idol worship and the use of murtis?
Answer: Arya Samaj
The Arya Samaj is cited as a Hindu denomination that rejects idol worship and the use of murtis, in contrast to many other traditions.
What historical events and conflicts led to murtis and temples frequently becoming targets of destruction?
Answer: Raids and wars between Islamic and Hindu powers.
Murtis and temples were frequently targeted for destruction during periods of religious conflict, notably during raids and wars between Islamic and Hindu powers in South Asia, commencing from the late 12th century CE.
How do Jain scholars view the necessity of icons, such as murtis, in spiritual endeavors?
Answer: They see icons as necessary tools for learning and focusing thought.
Jain scholars argue that icons are necessary for spiritual endeavors, analogous to their utility in science or commerce, as they assist human beings in learning and focusing their thoughts, rendering them inseparable from spiritual pursuits.