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 | ||
c. Growing popularity of Pure Land Buddhism | ||
d. Development of yamato-e | ||
e. A flourishing of indigeous arts and culture |
a. The active proselytization of Buddhism among commoners | ||
b. The active patronage of Amida and Esoteric Buddhism by the warrior elite | ||
c. The blossoming of an age of realism in the arts | ||
d. A return to court styles favored by the Fujiwara | ||
e. A strong role of the warrior class in arts and culture |
a. Chaonoyu | ||
b. Raku | ||
c. Wabi-sabi | ||
d. Sumi-e | ||
e. Onne-e |
a. Oda Nobunaga | ||
b. Tokugawa Ieyasu | ||
c. Toyotomi Hideyoshi | ||
d. Emperor Go-Mizunō | ||
e. None of the above |
a. Toyotomi Hideyoshi | ||
b. Sen no Rikyu | ||
c. Ogata Kōrin | ||
d. Oda Nobunaga | ||
e. Kano Masanobu |
a. Ando Hiroshige | ||
b. Katsushika Hokusai | ||
c. Kitagawa Utamaro | ||
d. Harunobu Suzuki | ||
e. Tsukioka Yoshitoshi |
a. Kano Masanobu | ||
b. Kano Eitoku | ||
c. Kano Motonobu | ||
d. Kano Sanraku | ||
e. none of the above |
a. Kano Eitoku | ||
b. Ando Hiroshige | ||
c. Sen no Rikyu | ||
d. Kano Masanobu | ||
e. Kitagawa Utamaro |
a. Designer | ||
b. Engraver | ||
c. Printer | ||
d. Publisher | ||
e. All of the above |
a. It is the oldest surviving Buddhist statue in Japan. | ||
b. It was made by the sculptor Tori Busshi. | ||
c. It is the largest bronze statue in the world. | ||
d. All of the above | ||
e. None of the above |
a. Rinpa | ||
b. Dogu | ||
c. Raku | ||
d. Dotaku | ||
e. None of the above |
a. Ryōan-ji | ||
b. Borobudur | ||
c. Hōryūj-i | ||
d. Tōdai-ji | ||
e. Pagan |