|
a. Piece-mold method of casting |
||
|
b. Sand casting |
||
|
c. Lost wax casting |
||
|
d. Centrifugal casting |
||
|
e. None of the above |
|
a. Hindu Indian |
||
|
b. Muslim Indian |
||
|
c. Timurid Iranian and Central Asian |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Granite |
||
|
b. Red sandstone |
||
|
c. Marble |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Guptas |
||
|
b. Pallavas |
||
|
c. Mughals |
||
|
d. Cholas |
||
|
e. None of the above |
|
a. Sandstone |
||
|
b. Granite |
||
|
c. Marble |
||
|
d. Limestone |
||
|
e. None of the above |
|
a. Kailasanatha |
||
|
b. Khajuraho |
||
|
c. Brihadisvara |
||
|
d. Ajanta |
||
|
e. Mahabalipuram |
|
a. Fatehpur Sikri |
||
|
b. Khajuraho |
||
|
c. Sarnath |
||
|
d. Gandhara |
||
|
e. Sanchi |
|
a. Ellora |
||
|
b. Mahabalipuram |
||
|
c. Tamil Nadu |
||
|
d. Ajanta |
||
|
e. None of the above |
|
a. Mathura |
||
|
b. Gandhara |
||
|
c. Sarnath |
||
|
d. Kondavane |
||
|
e. None of the Above |
|
a. Pala Empire |
||
|
b. Mauryan Empire |
||
|
c. Kushan Empire |
||
|
d. Gupta Empire |
||
|
e. Chalukya Empire |
|
a. Gupta |
||
|
b. Mauryan |
||
|
c. Pallava |
||
|
d. Kushan |
||
|
e. Harsha |
|
a. Stupas |
||
|
b. Chaitya grihas |
||
|
c. Viharas |
||
|
d. Gorupas |
||
|
e. None of the above |
|
a. Stories about the lives of the Buddha’s disciples |
||
|
b. Stories about the lives of bodhisattvas |
||
|
c. Stories about the life of and previous lives of the Buddha |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. They are most well-known as examples of Dravidian temple architecture. |
||
|
b. They are most well-known for their erotic carvings on the temple’s exterior. |
||
|
c. They are most well-known for their tall pyramidal towers. |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. A monumental tower at the entrance to a Hindu temple |
||
|
b. The most sacred area of a Hindu temple |
||
|
c. The name of a pool in a Hindu temple used for ritual washing |
||
|
d. The area surrounding a Hindu temple |
||
|
e. The inner courtyard of a Hindu temple |
|
a. Jama Masjid |
||
|
b. Badshahi Mosque |
||
|
c. Quwwat-ul-Islam Masjid |
||
|
d. Moti Masjid |
||
|
e. None of the above |
|
a. Bodhisattva |
||
|
b. Aspara |
||
|
c. Buddha |
||
|
d. Demon king |
||
|
e. Arhat |
|
a. Ganesha |
||
|
b. Vishnu |
||
|
c. Hanuman |
||
|
d. Krishna |
||
|
e. Shiva |
|
a. They were usually created by a single painter. |
||
|
b. Many were plant and animal studies. |
||
|
c. Most were part of lavishly finished albums. |
||
|
d. Many contained realistic portraiture and Europeanized subjects. |
||
|
e. All of the above |
|
a. A garbha gihra or womb chamber |
||
|
b. Four gateways |
||
|
c. A prayer hall |
||
|
d. A north-south axis |
||
|
e. All of the above |
|
a. They are pyramidal in shape. |
||
|
b. They are square in plan. |
||
|
c. They contain tanks or wells of water. |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. As a prayer wheel |
||
|
b. As a pair of foot prints |
||
|
c. As an empty seat |
||
|
d. As a character in a jataka tale |
||
|
e. All of the above |
|
a. It represents the Islamic garden of paradise. |
||
|
b. It is decorated throughout with verses from the Koran. |
||
|
c. It is decorated with murals that depict Shah Jahan. |
||
|
d. It contains the cenotaph of Mumtaz Muhal and Shah Jahan. |
||
|
e. All of the above |
|
a. Tomb of Salim Christi |
||
|
b. Red Fort |
||
|
c. Taj Mahal |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. The sculptures emphasized organic, fleshy human forms. |
||
|
b. The sculptures were made of sandstone. |
||
|
c. The sculptures were influenced by Greco-Roman sculpture. |
||
|
d. The figures are often depicted semi-nude. |
||
|
e. The figures were made in workshops in and around the city of Mathura. |
|
a. Frequent use of geometric patterns |
||
|
b. Frequent use of figural representation |
||
|
c. High regard for calligraphy |
||
|
d. Frequent use of vegetal patterns |
||
|
e. Frequent use of arabesques |
|
a. Jataka tales |
||
|
b. Iconic representations of the Buddha |
||
|
c. Fertility figures |
||
|
d. Lions |
||
|
e. Elephants |
|
a. Khajuraho |
||
|
b. Bhimbetka |
||
|
c. Elephanta |
||
|
d. Ajanta |
||
|
e. Mahabalipuram |
|
a. They are said to contain the relics of the Buddha. |
||
|
b. Buddhists worship inside them. |
||
|
c. They are usually pyramidal in shape. |
||
|
d. They are all made from stone. |
||
|
e. None of the above |
|
a. It was carved from a single piece of stone. |
||
|
b. It is a Dravidian Temple. |
||
|
c. It is dedicated to Shiva. |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. They are also called Rathas. |
||
|
b. They are made from single blocks of stone. |
||
|
c. They were commissioned by the Pallava Dynasty. |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. They have curvilinear towers. |
||
|
b. They are pyramidal in shape. |
||
|
c. They were built mainly in the north of India. |
||
|
d. Many were built by the Cholas. |
||
|
e. All of the above |
|
a. Chandra Gupta I |
||
|
b. Shah Jahan |
||
|
c. Rajaraja Chola I |
||
|
d. Akbar |
||
|
e. None of the above |
|
a. Siddhartha Gautama |
||
|
b. Chandra Gupta I |
||
|
c. Kanishka I |
||
|
d. Ashoka |
||
|
e. None of the above |
|
a. Ashoka |
||
|
b. Shah Jahan |
||
|
c. Chandra Gupta I |
||
|
d. Rajaraja Chola I |
||
|
e. None of the above |
|
a. Akbar |
||
|
b. Shah Jahan |
||
|
c. Salim Cristi |
||
|
d. Babur |
||
|
e. None of the above |
|
a. Shah Jahan |
||
|
b. Babur |
||
|
c. Akbar |
||
|
d. Jahangir |
||
|
e. None of the above |
|
a. The main image hall at Horyū-ji |
||
|
b. The chaitya hall at Karle |
||
|
c. The stupa at Bodhgaya |
||
|
d. The Great Stupa at Sanchi |
||
|
e. The chaitya hall at Bharhut |
|
a. A network of planned mud-brick cities |
||
|
b. Seals possibly decorated with a form of writing |
||
|
c. Evidence of trade with Mesopotamia |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. The Northern Wei Dynasty |
||
|
b. The Sui Dynasty |
||
|
c. The Northern Liang Dynasty |
||
|
d. The Tang Dynasty |
||
|
e. None of the above |
|
a. The First Emperor of China |
||
|
b. Emperor Wu of the Han dynasty |
||
|
c. Emperor Taizong of the Tang dynasty |
||
|
d. The Qianlong Emperor |
||
|
e. Emperor Huizong of the Song dynasty |
|
a. Dunhunag |
||
|
b. Ellora |
||
|
c. Longmen |
||
|
d. Ajanta |
||
|
e. Yungang |
|
a. Album leaf |
||
|
b. Hanging scroll |
||
|
c. Mural |
||
|
d. Handscoll |
||
|
e. Fan |
|
a. Bronze |
||
|
b. Jade |
||
|
c. Lacquer |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Zhao Mengfu |
||
|
b. Dong Qichang |
||
|
c. Qian Xuan |
||
|
d. Ni Zan |
||
|
e. None of the above |
|
a. The constellations that decorate the main tomb chamber |
||
|
b. Its life-size terracotta figures |
||
|
c. Its elaborate underground system of corridors |
||
|
d. Its large number of jades |
||
|
e. Its large number of bronzes |
|
a. Jian |
||
|
b. Qingbai |
||
|
c. Ge |
||
|
d. Sancai |
||
|
e. None of the above |
|
a. Jingdezhen |
||
|
b. Changsha |
||
|
c. Ganzhou |
||
|
d. Zibo |
||
|
e. Longquanwu |
|
a. Wang Mang |
||
|
b. Marquis Yi of Zeng |
||
|
c. Count Yu |
||
|
d. Han Wudi |
||
|
e. Duke of Zhou |
|
a. Chang’an |
||
|
b. Dunhuang |
||
|
c. Juyuan |
||
|
d. Yungang |
||
|
e. Longmen |
|
a. Anyang |
||
|
b. Sanxingdui |
||
|
c. Changsha |
||
|
d. Xi’an |
||
|
e. Luoyang |
|
a. Philippe Couplet |
||
|
b. Giuseppe Castiglione |
||
|
c. Sabatino de Ursis |
||
|
d. Matteo Ricci |
||
|
e. Alvaro Semedo |
|
a. Dong Qichang |
||
|
b. Wen Zhengming |
||
|
c. Shen Zhou |
||
|
d. Xia Chang |
||
|
e. Lu Zhi |
|
a. Lin Liang |
||
|
b. Zhu Yunming |
||
|
c. Dong Qichang |
||
|
d. Lu Zhi |
||
|
e. Shen Zhou |
|
a. Kangxi Emperor |
||
|
b. Qianlong Emperor |
||
|
c. Yongzheng Emperor |
||
|
d. Jiaqing Emperor |
||
|
e. None of the above |
|
a. Fatehpur Sikri |
||
|
b. Tang Dynasty Chang’an |
||
|
c. The Forbidden City |
||
|
d. The Imperial City of Heian |
||
|
e. None of the above |
|
a. Huizong |
||
|
b. Taizong |
||
|
c. Yingzong |
||
|
d. Shenzong |
||
|
e. None of the above |
|
a. Ma Lin |
||
|
b. Xia Gui |
||
|
c. Ma Yuan |
||
|
d. Mi Fu |
||
|
e. Zhao Mengfu |
|
a. Rock cut cave |
||
|
b. Vertical pit tomb |
||
|
c. Horizontal tomb chamber with sloping passageway |
||
|
d. Catacomb |
||
|
e. None of the above |
|
a. Lacquer |
||
|
b. Bronze |
||
|
c. Ivory |
||
|
d. Jade |
||
|
e. None of the above |
|
a. Yang Guifei |
||
|
b. Lady Dai |
||
|
c. Fu Hao |
||
|
d. Mawangdui |
||
|
e. Xiwangmu |
|
a. They were used to cook everyday food. |
||
|
b. They were used to serve food and wine at musical performances. |
||
|
c. They were used at seasonal communal festivals. |
||
|
d. They were used in ancestral sacrifices. |
||
|
e. All of the above |
|
a. Dunhuang |
||
|
b. Yungang |
||
|
c. Longmen |
||
|
d. Juyan |
||
|
e. Chang’an |
|
a. Chinese rulers |
||
|
b. Sages |
||
|
c. The Queen Mother of the West and the King Father of the East |
||
|
d. Historical and mythological stories |
||
|
e. All of the above |
|
a. The inscriptions are longer and more prominent on Western Zhou bronzes. |
||
|
b. The taotie is more prominent on Western Zhou bronzes. |
||
|
c. Western Zhou bronzes have only been found in tombs. |
||
|
d. Some Western Zhou vessels have inlaid decoration. |
||
|
e. None of the above |
|
a. Handscroll |
||
|
b. Fan |
||
|
c. Hanging scrolls |
||
|
d. Album leaves |
||
|
e. All of the above |
|
a. Tombs begin to mimic the residences of the living. |
||
|
b. Lacquerware becomes more common in tombs. |
||
|
c. Bronzes are more secularized and ornate. |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Most of them were mass-produced. |
||
|
b. They were placed in tombs. |
||
|
c. They are meant to represent real things. |
||
|
d. They were to be used by the deceased. |
||
|
e. All of the above |
|
a. They created paintings that used nonrepresentational brushwork. |
||
|
b. Some amassed large collections of artworks. |
||
|
c. They created artworks that were highly polished and representational. |
||
|
d. In addition to painting, many also wrote poetry. |
||
|
e. None of the above |
|
a. Traditionalists who wanted to revitalize the Chinese painting tradition |
||
|
b. Individualists whose personal art often expressed political protest |
||
|
c. Courtiers, officials, and professional artists who served the Manchu court |
||
|
d. Amateurs who pursued art for art’s sake, but also sometimes sold their works |
|
a. It was built during the Qing dynasty. |
||
|
b. All of the building’s roof tiles are red. |
||
|
c. It is where the emperor resided during the summer months. |
||
|
d. Its important buildings run north-south. |
||
|
e. All of the above |
|
a. They served the Manchus. |
||
|
b. They were inspired by the Yuan dynasty painter, Zhao Mengfu. |
||
|
c. Many used shading and perspective and different Western painting techniques introduced to China by the Jesuits in their compositions. |
||
|
d. They favored minimalist compositions. |
||
|
e. None of the above |
|
a. Wu Zhen |
||
|
b. Qian Xuan |
||
|
c. Zhao Mengfu |
||
|
d. Ni Zan |
||
|
e. Shen Zhou |
|
a. Doucai |
||
|
b. Famille verte |
||
|
c. Famille rose |
||
|
d. Wucai |
||
|
e. None of the above |
|
a. Fan Kuan |
||
|
b. Mi Fu |
||
|
c. Guo Xi |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Wang Wei |
||
|
b. Wu Daozi |
||
|
c. Han Gan |
||
|
d. Zhao Mengfu |
||
|
e. Li Bo |
|
a. Piece-mold method of casting |
||
|
b. Sand casting |
||
|
c. Lost wax casting |
||
|
d. Centrifugal casting |
||
|
e. None of the above |
|
a. Song dynasty |
||
|
b. Han dynasty |
||
|
c. Tang dynasty |
||
|
d. Qing dynasty |
||
|
e. Shang dynasty |
|
a. Ukiyo-e |
||
|
b. Rinpa |
||
|
c. Literati painting |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Fusuma |
||
|
b. Shinden |
||
|
c. Buke |
||
|
d. All of the above |
||
|
e. None of the above |
|
a. Onna-e |
||
|
b. Otoko-e |
||
|
c. Kara-e |
||
|
d. Rinpa |
||
|
e. None of the above |
|
a. The Tale of Heike |
||
|
b. The Tale of Genji |
||
|
c. Legends of the Kitano Shrine |
||
|
d. The Tale of Heiji |
||
|
e. Legends of the Kumano Shrine |
|
a. Jomon Period |
||
|
b. Kofun Period |
||
|
c. Heian Period |
||
|
d. Nara Period |
||
|
e. Yayoi Period |
|
a. Bayon |
||
|
b. Byōdō-in |
||
|
c. Hōryūj-i |
||
|
d. Tōdai-ji |
||
|
e. Borobudur |
|
a. Handscrolls that depict the world of the Heian court |
||
|
b. Hanging scrolls used to help a dying individual enter the Western Paradise |
||
|
c. Handscrolls that depict battles and historical events that became popular after the rise of the warrior class |
||
|
d. Hanging scrolls or handscrolls that depict events relating to the founding of a temple |
||
|
e. None of the above |
|
a. Minor gods and nature spirits |
||
|
b. Courtesans, noh actors, and bunraku puppeteers |
||
|
c. Buddhas and bodhisattvas |
||
|
d. Kabuki actors, courtesans, and famous landscapes |
||
|
e. None of the above |
|
a. Ink monochrome paintings |
||
|
b. Blue and green landscapes |
||
|
c. Bird and flower paintings |
||
|
d. Gold leaf folding screens |
||
|
e. All of the above |
|
a. Shoin |
||
|
b. Shinden |
||
|
c. Tokonoma |
||
|
d. Fusuma |
||
|
e. Byobu |
|
a. Kano |
||
|
b. Kara-e |
||
|
c. Rinpa |
||
|
d. Ukiyo-e |
||
|
e. Nihonga |
|
a. The pagoda at Hōryū-ji |
||
|
b. The main hall at Tōdai-ji |
||
|
c. The Yumedono Hall at Hōryūji |
||
|
d. The pagoda at Kōfuku-ji |
||
|
e. None of the above |
|
a. A style of painting based on Chinese precedents |
||
|
b. A style of painting favored by Zen monks |
||
|
c. A style of painting associated with the warrior class |
||
|
d. A style of painting favoring Japanese traditions |
||
|
e. None of the above |
|
a. Bronze bells |
||
|
b. A special kind of ceramic used in the tea ceremony |
||
|
c. Bronze mirrors |
||
|
d. A highly elaborate form of decoration found on folding screens, lacquerware, and other objects |
||
|
e. None of the above |
|
a. Ando Hiroshige |
||
|
b. Harunobu Suzuki |
||
|
c. Kitagawa Utamaro |
||
|
d. Tsukioka Yoshitoshi |
||
|
e. Katsushika Hokusai |
|
a. Ogata Kōrin |
||
|
b. Kano Eitoku |
||
|
c. Hon’ami Koetsu |
||
|
d. Tawaraya Sotatsu |
||
|
e. None of the above |
|
a. Katsushika Hokusai |
||
|
b. Ando Hiroshige |
||
|
c. Kitagawa Utamaro |
||
|
d. Harunobu Suzuki |
||
|
e. Tsukioka Yoshitoshi |
|
a. Warriors |
||
|
b. Courtiers |
||
|
c. Merchants |
||
|
d. Farmers |
||
|
e. All of the above |
|
a. Fujiwara |
||
|
b. Genji |
||
|
c. Heike |
||
|
d. Ashikaga |
||
|
e. None of the above |
|
a. The Eastern Paradise of Yakushi Nyorai |
||
|
b. Mount Sumeru |
||
|
c. The immortal island of Horai |
||
|
d. The Western Paradise of Amida |
||
|
e. None of the above |
|
a. From the low-fired ceramics made during the period |
||
|
b. From a region lying on the outskirts of Kyoto |
||
|
c. From the name of an archaeologist who discovered the first tombs dated to this period |
||
|
d. From the mounded tombs built for the elite at this time |
||
|
e. None of the above |
|
a. Slight curvature of columnar elements |
||
|
b. “Cloud-pattern" bracket arms with cloud-shaped holes supporting roofs |
||
|
c. Swastika pattern railings |
||
|
d. Thin block plates beneath the brackets at the tops of columns |
||
|
e. All of the above |
|
a. It depicts Amida Buddha in a landscape of rolling hills. |
||
|
b. It represents the myriad Buddhas as geometric relationships. |
||
|
c. This type of mandala was only made during the Kamakura Period. |
||
|
d. It is used by practitioners of Zen Buddhism. |
||
|
e. All of the above |
|
a. It often depicts Zen patriarchs and teachers. |
||
|
b. Personal expression is always more important than a particular painting style. |
||
|
c. It draws upon secular Chinese themes infused with scholarly symbolism. |
||
|
d. It sometimes includes landscapes. |
||
|
e. It sometimes includes literary figures. |
|
a. It is an example of a dry rock garden. |
||
|
b. It is associated with Zen Buddhism. |
||
|
c. It is attributed to Soami. |
||
|
d. It probably originally used the concept of shakkei or “borrowed scenery” in its design. |
||
|
e. All of the above |
|
a. Katsushika Hokusai |
||
|
b. Ando Hiroshige |
||
|
c. Kitagawa Utamaro |
||
|
d. Suzuki Harunobu |
||
|
e. Tsukioka Yoshitoshi |
|
a. Development of waka poetry |
||
|
b. Growth of strong ties with China |
||
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c. Growing popularity of Pure Land Buddhism |
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d. Development of yamato-e |
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e. A flourishing of indigeous arts and culture |
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a. The active proselytization of Buddhism among commoners |
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b. The active patronage of Amida and Esoteric Buddhism by the warrior elite |
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c. The blossoming of an age of realism in the arts |
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d. A return to court styles favored by the Fujiwara |
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e. A strong role of the warrior class in arts and culture |
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a. Chaonoyu |
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b. Raku |
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c. Wabi-sabi |
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d. Sumi-e |
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e. Onne-e |
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a. Oda Nobunaga |
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b. Tokugawa Ieyasu |
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c. Toyotomi Hideyoshi |
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d. Emperor Go-Mizunō |
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e. None of the above |
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a. Toyotomi Hideyoshi |
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b. Sen no Rikyu |
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c. Ogata Kōrin |
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d. Oda Nobunaga |
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e. Kano Masanobu |
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a. Ando Hiroshige |
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b. Katsushika Hokusai |
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c. Kitagawa Utamaro |
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d. Harunobu Suzuki |
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e. Tsukioka Yoshitoshi |
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a. Kano Masanobu |
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b. Kano Eitoku |
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c. Kano Motonobu |
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d. Kano Sanraku |
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e. none of the above |
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a. Kano Eitoku |
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b. Ando Hiroshige |
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c. Sen no Rikyu |
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d. Kano Masanobu |
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e. Kitagawa Utamaro |
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a. Designer |
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b. Engraver |
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c. Printer |
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d. Publisher |
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e. All of the above |
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a. It is the oldest surviving Buddhist statue in Japan. |
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b. It was made by the sculptor Tori Busshi. |
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c. It is the largest bronze statue in the world. |
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d. All of the above |
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e. None of the above |
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a. Rinpa |
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b. Dogu |
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c. Raku |
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d. Dotaku |
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e. None of the above |
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a. Ryōan-ji |
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b. Borobudur |
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c. Hōryūj-i |
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d. Tōdai-ji |
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e. Pagan |