Class 12 History Chapter 4 Solutions: Thinkers, Beliefs and Buildings

NCERT Solutions Class 12 History Chapter 4 Thinkers Beliefs And Buildings Cultural Developments (2025-26)

Answer the following questions as per the NCERT textbook exercises:

1. Were the ideas of the Upanishadic thinkers different from those of the fatalists and materialists? Give reasons.

Answer: Yes, the ideas of Upanishadic thinkers were different from those of the fatalists and materialists. Upanishadic thinkers focused on understanding the self (atman), rebirth, and consequences of actions (karma). Fatalists believed everything is predetermined, while materialists denied existence beyond the material world and did not accept rebirth or the soul’s existence.

2. Summarise the central teachings of Jainism.

Answer: The central teachings of Jainism are:

• The world is animated; even stones, rocks, and water have life.
• Ahimsa (non-injury) towards all living beings is fundamental.
• The cycle of birth and rebirth is shaped by karma.
• Monastic existence, penance, and self-restraint are essential for salvation.
• Jaina monks and nuns take five vows: not to kill, steal, lie, remain celibate, and not possess property.

3. Discuss the role of the begums of Bhopal in preserving the stupa at Sanchi.

Answer: The Begums of Bhopal, particularly Shahjehan Begum and Sultan Jehan Begum, funded the preservation of the Sanchi Stupa by providing resources for its maintenance, the construction of a museum, and the guesthouse for scholars. Their support ensured that the Sanchi complex survived and was well-preserved for future generations.

4. Read this short inscription and answer:

In the year 33 of the maharaja Huvishka (a Kushana ruler), in the first month of the hot season on the eighth day, a Bodhisatta was set up at Madhuvanaka by the bhikkhuni Dhanavati, the sister’s daughter of the bhikkhuni Buddhamita, who knows the Tipitaka, the female pupil of the bhikkhu Bala, who knows the Tipitaka, together with her father and mother.

(a) How did Dhanavati date her inscription?

Answer: Dhanavati dated her inscription by referring to the regnal year (year 33) of the maharaja Huvishka.

(b) Why do you think she installed an image of the Bodhisatta?

Answer: She likely installed the image of the Bodhisatta for religious merit, devotion, and to honor Buddhist traditions of worship and veneration.

(c) Who were the relatives she mentioned?

Answer: Dhanavati mentioned her maternal aunt (bhikkhuni Buddhamita) and her own parents (father and mother) as her relatives.

(d) What Buddhist text did she know?

Answer: She was knowledgeable about the Tipitaka, which is the Buddhist canonical literature.

(e) From whom did she learn this text?

Answer: She learned the Tipitaka from her teacher, bhikkhu Bala.

5. Why do you think women and men joined the sangha?

Answer: Women and men joined the sangha to seek spiritual liberation, escape social constraints, and pursue a life of discipline, meditation, and learning. The sangha offered opportunities for equality, education, and a community dedicated to following the Buddha’s path.

6. Essay (~500 words): To what extent does knowledge of Buddhist literature help in understanding the sculpture at Sanchi?

Answer: Knowledge of Buddhist literature greatly enhances our understanding of the sculpture at Sanchi. The Sanchi stupa is richly decorated with sculptures that illustrate stories from the Buddha’s life and various Jataka tales (stories of previous births of the Buddha) that are found in Buddhist texts such as the Jatakas and the Sutta Pitaka. Without familiarity with these literary sources, many of the images—such as scenes under the Bodhi tree, the empty throne, the wheel, and various animal motifs—may seem simply decorative or mysterious.

For instance, Buddhist literature explains the symbolic use of motifs: the stupa itself often stands for the Buddha's parinirvana; the wheel symbolizes the first sermon; the bodhi tree stands for the site of enlightenment; and footprints or the empty throne represent the Buddha without depicting him anthropomorphically, in accordance with early Buddhist traditions. Jataka tales depicted on the gateways and railings not only reflect religious teachings but also provide a glimpse into everyday life, social structures, and values of the period.

These stories, teachings, and symbolic representations are better understood when one knows the contents of Buddhist texts. Moreover, edicts or inscriptions on these monuments often refer to donors, events, or teachings mentioned in Buddhist literature, creating a direct link between text and art. Thus, knowledge of Buddhist literature is essential for interpreting the iconography, narrative themes, and religious significance of Sanchi’s sculpture.

In summary, a thorough understanding of Buddhist literature is crucial for decoding and appreciating the rich array of stories, symbols, and meanings embedded in the sculpture at Sanchi. It allows us to connect artistic representation with religious doctrine and historical context, turning art from a visual puzzle into a coherent, layered narrative.

7. Essay: Figs. 4.32 and 4.33 are two scenes from Sanchi. Describe what you see in each of them, focusing on the architecture, plants and animals, and the activities. Identify which one shows a rural scene and which an urban scene, giving reasons.

Answer: [Note: Since Figs. 4.32 and 4.33 are not provided in the input, please use this template for your answer and adjust when images are available]
Fig. 4.32 likely depicts a rural scene, with representations of fields, trees, animals such as elephants or cattle, and villagers performing agricultural or daily tasks—suggesting a countryside environment. The presence of wildlife and greenery further supports this.
Fig. 4.33, on the other hand, probably represents an urban setting: you might observe well-constructed gateways, clusters of people engaged in trade, or buildings signifying settlement. Markets, processions, and crafted objects can indicate urban life.
The architectural elements, the density of people, presence or absence of city walls, and the activities depicted (farming vs. trading or participating in civic rituals) help distinguish between rural and urban contexts.

8. Essay: Discuss the development in sculpture and architecture associated with the rise of Vaishnavism and Shaivism.

Answer: With the rise of Vaishnavism and Shaivism, temple architecture and sculpture flourished. Temples dedicated to Vishnu and Shiva were constructed, initially as simple structures (garbhagriha) and later as elaborate complexes with shikharas (towers), mandapas (halls), and intricately carved gateways. Sculptures depicted deities such as Vishnu in various avatars (e.g., Varaha) and Shiva as a linga or in anthropomorphic forms.

Figures of Durga, Lakshmi, Parvati, and Ganesha became common, reflecting the growing importance of goddess worship. Walls and pillars bore rich carvings illustrating mythological tales from the Puranas. Some temples were rock-cut, as at Ellora and Ajanta. The use of narrative panels, iconic representations, and complex layouts became hallmarks of Hindu temple architecture during this period, showing both religious and artistic innovation.

9. Essay: Discuss how and why stupas were built.

Answer: Stupas were built as commemorative monuments housing the relics of the Buddha or objects associated with him. Their construction was intended to mark sacred spots and serve as centers of worship and pilgrimage for the Buddhist community. The tradition possibly predates Buddhism but gained special significance after Asoka distributed the Buddha’s relics and erected stupas across his empire.

Stupas were funded by donations from kings, guilds, and laypeople—records at Sanchi cite gifts from ivory workers, women, and monks. The stupa typically featured a circular mound (anda), a harmika (platform), and a central pillar (yashti) topped by an umbrella (chhatri), surrounded by a railing and decorated gateways (toranas). Over time, decoration became more complex, depicting scenes from the Buddha’s life and Jataka tales on the railings and gateways. Thus, stupas were social, religious, and artistic projects that reflected community participation and devotion.

Thinkers, Beliefs and Buildings: Key Concepts and Exam Insights

NCERT Solutions for Class 12 History Chapter 4 Thinkers Beliefs And Buildings Cultural Developments simplify complex ideas about philosophy, religion, and architecture in ancient India. Strengthen your fundamentals by revising Buddhism, Jainism, stupas, and temple structures confidently for your board exams.

This chapter guides students through debates among ancient thinkers, sacred texts, and the evolution of Buddhist and Hindu practices. Reviewing authentic NCERT explanations ensures you understand each tradition’s unique role in shaping Indian history and art.

Consistent practice with exercise-based solutions helps you master architecture, symbolism, and the significance of religious monuments. Focus on key points for a smart exam strategy and maximize your marks in History!