| 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 |