Statement 1 is incorrect.
Thanjavur painting is a classical South Indian painting style, which was inaugurated from the town of Thanjavur (anglicized as Tanjore) and spread across the adjoining and geographically contiguous Tamil country. The art form draws its immediate resources and inspiration from way back about 1600 AD, a period when the Nayakas of Thanjavur under the suzerainty of the Vijayanagara Rayas encouraged art—chiefly, classical dance and music—as well as literature, both in Telugu and Tamil and painting of chiefly Hindu religious subjects in temples.
It is distinguished by its famous gold coating.
The paintings are mostly of Gods and Goddesses because this art of painting flourished at a time when finelooking and striking temples were being constructed by rulers of several dynasties.

1 and 3 are correct.
Madhubani art is practiced in the Mithila region, Bihar. Painting is done with fingers, twigs, brushes, nib-pens, and matchsticks, etc. Using natural dyes and pigments, and is characterised by eye-catching geometrical patterns.
Pattachitra or Patachitra is a general term for traditional, clothbased scroll painting, based in the eastern Indian states of Odisha and West Bengal. Pattachitra art form is known for its intricate details as well as mythological narratives and folktales inscribed in it.
The Patuas are an artisan community found in the state of West Bengal, Bihar, Jharkhand and Odisha in India and parts of Bangladesh.

Both 1 and 2 are correct.
Lai Haraoba is one of the main festivals still performed in Manipur which has its roots in the pre-Vaishnavite period. Lai Haraoba is the earliest form of dance which forms the basis of all stylised dances in Manipur. Literally meaning – the merrymaking of the gods, it is performed as a ceremonial offering of song and dance. The principal performers are the maibas and maibis (priests and priestesses) who re-enact the theme of the creation of the
world.

Mimamsa philosophy is basically the analysis of interpretation, application and the use of the text of the Samhita and Brahmana portions of the Veda.
According to Mimamsa philosophy, Vedas are eternal and possess all knowledge, and religion means the fulfilment of duties prescribed by the Vedas. This philosophy encompasses the Nyaya-Vaisheshika systems and emphasizes the concept of valid knowledge.

None of the above is correct.
This new group of painters rejected the art of Raja Ravi Varma as imitative and westernized. They declared that such a style was unsuitable for depicting the nation’s ancient myths and legends.
They turned to the inspiration to medieval Indian traditions of the miniature paintings and ancient art of mural paintings in Ajanta Caves. The paintings of Ajanta and Bagh, Mogul, Rajput and Pahari miniatures provided the models.
The continuity of earlier traditions was sought to be maintained by borrowing from legends and classical literature like the Ramayana, the Mahabharata, Gita, and Puranas, the writings of Kalidasa and Omar Khayyam. Also known as ‘Indian style of painting’ in its early days, it was associated with Indian nationalism and led by Rabindranath Tagore, but was also promoted and supported by British arts administrators like E. B. Havell; eventually it led to the development of the modern Indian painting.