Q&A Hero

Q: The Forbidden City was built for the most part by rulers from which dynasty? A. Qing B. Ming C. Joseon D. Yuan

Q: The symmetrical layout of the Forbidden City intentionally emphasizes the emperors role as A. the Son of the Seas. B. the greatest Ruler. C. the Son of Heaven. D. the Son of Buddha.

Q: Which kilns were destroyed by invading Japanese armies in the last decade of the sixteenth century and brought the wares production to a halt? A. barbarian B. kaolin C. buncheong D. literati

Q: Which work reflects the study of Western modernism, as well as Eastern roots? A. Roof Tiling (Fig. 25-21) B. Reminiscences of Qinhuai River (Fig. 25-15) C. Dream Journey to the Peach Blossom Land (Fig. 25-19) D. Universe 5-IV-71 #200 (Fig. 25-22)

Q: Characteristically, Chinese furniture is constructed without the use of glue or nails, relying instead on the principle of A. twisted assembly. B. the bent connection. C. the mortise-and-tenon joint. D. cement joining.

Q: What makes the Korean buncheong ware resemble more expensive white porcelain? A. crackle glaze B. brown slip C. white slip D. red slip

Q: Which colors are particularly noteworthy among Ming porcelain wares, such as the fifteenth-century flask with dragons (Fig. 25-4)? A. red and white B. blue and white C. grey and white D. green and-white

Q: What was often part of a handscroll and could consist of inscriptions related to the work, such as a poem or comments by various owners of the scroll over time? A. index B. antiphon C. forward D. colophon

Q: Who was the primary audience of literati paintings? A. patrons from court B. lower government officials C. close friends and scholars D. private collectors

Q: What feature distinguishes Korean porcelains from those of the Ming dynasty in China? A. asymmetrical designs B. underglazing C. natural subjects D. irregular shapes

Q: Literati painting was an established academic style practiced at court during which period of Chinese history? A. Yuan B. Ming C. Qing D. Song

Q: How does Poet on a Mountaintop (Fig. 25-9) represent the essence of Ming literati painting? A. the loose rendering of a mountain landscape B. the harmonious blending of mind and nature C. the emphasis on the solitary man D. the use of calligraphy

Q: The symbolism of Yun Shoupings Amaranth (Fig. 25-13) shows homages to court officials from what tradition? A. Yuan B. Shang C. Qing D. Tang

Q: During the Ming dynasty, emphasis on paintings expressive nature brought it closer to what other Chinese art form? A. porcelain production B. calligraphy C. landscape design D. poetry

Q: What was Zhao Mengfu reacting to or interpreting in the iconography of Sheep and Goat (Fig. 25-2)? A. court paintings B. animal interactions C. Buddhist scripture D. foreign rulers

Q: Dong Qichang based his ideas about Chinas Northern and Southern schools of painting on A. regional centers of artistic production. B. parallels he saw in Buddhist practice. C. traditions associated with the Song dynasty. D. political divisions of the Yuan dynasty.

Q: The Garden of the Cessation of Official Life (Fig. 25-11) was designed to A. encourage leisure and foster the owners scholarly pursuits. B. reflect Confucian beliefs about the individuals role in society. C. show an ideal plan for balance and harmony in the universe. D. recall the owners successful career as a government official.

Q: The earliest extant and dated Joseon secular painting is A. Dream Journey to the Peach Blossom Land (Fig. 25-19). B. Returning Home Late from a Spring Outing (Fig. 25-6). C. A Thousand Peaks and Myriad Ravines (Fig. 25-1). D. The Qingbian Mountains (Fig. 25-12).

Q: Which individualist from the Qing period painted Reminiscences of Qinhuai River? A. Shitao B. Guang Zhou C. Wang Hui D. Qiu Ying

Q: Which of the following was a preeminent professional painter in the Ming period who produced the influential handscroll Spring Dawn in the Han Palace (Fig. 25-7)? A. Guan Zhou B. Zhao Mengfu C. Dai Jin D. Qiu Ying

Q: With the fall of the north to invaders in 1126, which court set up a new capital in the south that became the cultural and economic center of the country? A. Song B. Tang C. Shang D. Zhou

Q: During the 1980s, who emerged as a leader in Chinese painting for his synthesis of Chinese and Western ideas and techniques? A. Yin Hong B. Shitao C. Wu Guanzhong D. Wen Hong

Q: What does a treasured scroll often bear that not only identifies its maker but also collectors and admirers of that scroll throughout the centuries? A. fingerprints B. seals C. colophons D. symbolism

Q: Discuss the impact of the British Empire on the art and architecture of India, referencing specific works of art and monuments.

Q: In Akbar Inspecting the Construction of Fatehpur Sikri (Fig. 24-9), how does the artist use color, line, shape, and spatial properties to convey the emotion and energy of the situation?

Q: Discuss the architectural advancements of India and South Asia in the period after 1200.

Q: Consider the impact of the Mughal dynasty on the art and architecture of India. Include in your discussion the contributions of specific rulers through their patronage and interest in the arts.

Q: Discuss the influence of outside cultures on the art and architecture of India, citing specific examples to support your ideas. Consider how indigenous practices and beliefs were incorporated into this later period.

Q: Who commissioned the Taj Mahal (Figs. 24-1 and 24-12) and for what purpose? Address its setting, the materials used in its construction, and its design.

Q: What is meaning of Jahangir and Shah Abbas (Fig. 24-10)?

Q: Who is Krishna, and how is he represented in Indian art?

Q: Discuss the work of contemporary Indian painter Maqbool Fida Husain. What artistic influences can you detect in his work?

Q: Discuss the Indian technique of painting on paper.

Q: Consider the significance of the Mandapa Ceiling at Luna Vasahi (Fig. 24-3). What do the relief sculptures represent?

Q: What is a buddharaja, and how did Jayavarman VII use the image?

Q: Discuss the significance of the Emerald Buddha (Fig. 24-21). What are its characteristics?

Q: What are the beliefs of the Jain religion?

Q: Discuss the characteristics of the Bodhisattva Avalokiteshvara (Fig. 24-2).

Q: Who designed the Victoria Terminus (Fig. 24-23), the massive train station built in Mumbai in 1887? A. Sir Bartle Frere B. King George V C. George Wittet D. Frederick Stevens

Q: What feature of the Qutb Minar, a minaret at Quwwat ul-Islam Mosque in Delhi, was unique for the time? A. its location B. its medium C. its height D. its balcony

Q: The Jain religion traces its roots to a series of 24 saviors, known as pathfinders or A. tirthankaras. B. gopuras. C. mudras. D. mamluks.

Q: Viewing themselves as defenders of the faith, the Hindu rulers in the south expressed their religious zeal, as well as secular power, by building enormous temple complexes, such as the A. Taj Mahal (Fig. 24-1). B. Minakshi-Sundareshvara Temple (Fig. 24-7). C. Shwedagon Stupa (Pagoda) (Fig. 24-19). D. Temple of the Emerald Buddha (Wat Phra Kaew) (Fig. 24-21).

Q: Where are the Petronas Towers (Fig. 24-27) located? A. Thailand B. Sri Lanka C. Malaysia D. India

Q: Both the Burmese and Thai kingdoms produced ceramics that were often inspired by stoneware and porcelain vessels from A. India. B. Persia. C. China. D. Malaysia.

Q: Before the fourteenth century, most painting in India had been on walls or A. palm leaves. B. calf skin. C. copper. D. papyrus.

Q: The Mandapa Ceiling at Luna Vasahi (Fig. 24-3) utilizes what type of dome construction? A. post-and-lintel B. corbeled C. barrel vault D. cantilever

Q: Based on the pyramidal towers of the seventh-century southern temple type, what silhouette did the gopura evolve into? A. rectangle B. convex C. concave D. perpendicular

Q: What is characteristic of Indian paintings, as seen in Hour of Cowdust (Fig. 24-14)? A. linear perspective B. intense color C. realistic landscapes D. dynamic compositions

Q: Which is typical of Mughal funerary structures, as seen in the Taj Mahal (Figs. 24-1 and 24-12)? A. a four-part garden B. asymmetrical design C. elaborate relief carvings D. a pyramidal tower

Q: What is the name of the hybrid style represented in the Gateway of India (24-24), which features European and South Asian elements of design? A. Indo-Saracenic B. Indo-Eurasian C. South Asian-English D. English-Malaysian

Q: Which could best be described as a nationalist statement of Indian identity? A. City Palace, Udaipur (Fig. 24-15) B. Gateway of India (Fig. 24-24) C. Bharat Mata (Mother India) (Fig. 24-25) D. Temple of the Emerald Buddha (Fig. 24-21)

Q: What feature of the Taj Mahal (Figs. 24-1 and 24-12) has origins in Indian palace architecture? A. the garden B. the minarets C. the chattris D. the pool

Q: Akbars private audience hall in Fatehpur Sikri included a structure probably intended to recall what from Indian history? A. the Great Stupa at Sanchi B. the pillars erected by King Ashoka C. indigenous yakshi figures D. sacred Vedic texts

Q: In Bharat Mata (Fig. 24-25), artist Abanindranath Tagore expresses his nationalism using what technique? A. color printing B. tempera C. oil painting D. watercolor

Q: The practices of Tantric Buddhism included techniques for which of the following? A. visualizing deities B. unifying the soul C. resurrecting the deceased D. visualizing loved ones

Q: Portraits became a major art under which rulers court? A. Akbar B. Jahangir C. Shah Jahan D. Jayavarman VII

Q: Which religions centers were in the northeast, with great monastic universities that attracted monks from as far away as China, Korea, and Japan? A. Jainist B. Buddhist C. Hindu D. Muslim

Q: Mughal court painters produced paintings that documented Emperor Akbars life and accomplishments recorded in the A. Gita Govinda. B. Akbarnama. C. Fatehpur. D. Gilgamesh.

Q: Who is the bodhisattva of greatest compassion? A. Avalokiteshvara B. Mahavira C. Palas D. Sukhothai

Q: What inspired the form of the Sukhothai Buddha (Fig. 24-20)? A. nature B. stupas C. light D. reliefs

Q: Which work is an example of Rajput painting? A. Jahangir and Shah Abbas (Fig. 24-10) B. Krishna and the Gopis (Fig. 24-13) C. Vedic (Fig. 24-26) D. Bharat Mata (Mother India) (Fig. 24-25)

Q: What Indian painting technique includes polishing pigments to a high luster? A. stamping B. burnishing C. varnishing D. glazing

Q: What was the first dynasty to unify large parts of the Indian subcontinent? A. Mughal B. Kushan C. Maurya D. Gupta

Q: What are the subjects of debate regarding the enormous portrait Las Meninas (Fig. 23-21) by Velzquez? Discuss the many interpretations of this painting.

Q: What were some of the themes and styles of the Dutch painters of the Baroque era? Cite specific examples.

Q: How was Berninis David (Fig. 23-4) different from sculptures by Michelangelo and Donatello on the same subject? Discuss the artists viewpoint, the expression, the moment in time, and the techniques.

Q: How did the Catholic Church use art and architecture as propaganda for the Counter-Reformation?

Q: How did Rubenss The Raising of the Cross (Fig. 23-26) exemplify Baroque ideals?

Q: Who were the patrons of Dutch Baroque art?

Q: What improvements were made to the design of the Banqueting House (Fig. 23-57) during the Baroque period?

Q: How did the architects and artists of Versailles celebrate the Sun King in the buildings and gardens?

Q: How did Vermeer make his paintings?

Q: Why did Rembrandts fortunes rise and fall?

Q: Why did women artists gain success and notoriety in seventeenth-century art?

Q: How did portraiture change during the Baroque era?

Q: Why was Rubens so successful as an artist?

Q: What is one impact that scientific discoveries had on art of the seventeenth century?

Q: What moralizing elements were included in Gerard ter Borchs The Suitors Visit (Fig. 23-42)?

Q: According to art historians, Artemisia Gentileschi frequently painted heroic biblical women to A. claim her rightful place in a male-dominated art world. B. provide women with a pious model for behavior. C. show her understanding of Old Testament text. D. steal commissions from other artists.

Q: The term for painted imitations of gold-framed easel painting used by Annibale Carracci on the Gallery ceiling of the Palazzo Farnese (Fig. 23-8) is A. di sotto in su. B. quadratura. C. tenebrism. D. quadro riportato.