In the painted elk hide attributed to Cotsiogo (Cadzi Cody), freehand painting and stenciling were likely used to create

an energized surface with repeated colors and motifs

What can we infer about the builders at Great Zimbabwe by looking at the construction of this wall?

Their skill with stone work increased over time

Hide paintings such as those by Cotsiogo (Cadzi Cody) were important to Shoshone artists because of the response from

Euro-American tourists, who were eager to buy them

What purpose did the architect's inclusion of ostrich eggs serve at the Great Mosque of Djenne?

a symbolic representation of fertility and purity

The use of imported materials such as tiny colored glass beads and silk ribbons on Bandolier bags were intended to show

the function of the bags as indications of the wearers’ social status

The specific imagery on Kwakwaka'wakw transformation masks is primarily influenced by

the clan association of the person qualified to dance the mask

When a Kwakwaka'wakw transformation mask was used in a ceremony, the audience would likely have felt that the wearer was

filled with energy from ancestors or spirit forces

The form of the Great Mosque of Djenne was influenced primarily by the form of

the hypostyle mosques of earlier Islam

The variety of t'oqapu designs covering the All-T'oqapu tunic indicates to scholars that

the garment was a royal tunic that symbolized the power of the Sapa Inka

San Ildefonso Pueblo artist Maria Martinez achieved the decorative black-on-black effect of the ceramic vessel shown by

firing it outdoors using an oxygen-reduction technique

The Golden Stool of the Ashanti people must be presented on its side, resting on its own stool, to remind viewers that

the stool is sacred and no person may sit on it

Access to the copper and tin needed for the brass wall plaque of Oba's palace was made possible among Edo people due to

their trade with Portugese voyagers

The wall plaque from Oba’s palace shows continuity with other works created in the kingdom of Benin through its use of

lost-wax casting techniques using recycled brass

The stone masonry at Machu Picchu employed socketing, a structural technique that

protected against damage caused by earthquakes

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APAH Works 161 - 170

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Questions 20

Answers

1
In the painted elk hide attributed to Cotsiogo (Cadzi Cody), freehand painting and stenciling were likely used to create
curvilinear plant motifs that contrast with geometric patterns
a composition divided into small squares that each contain symbols
a Great Plains landscape with monochromatic tones
an energized surface with repeated colors and motifs
2
What can we infer about the builders at Great Zimbabwe by looking at the construction of this wall?
They brought the stone from some other location
They used it as a fortress
They only decorated royal residences
Their skill with stone work increased over time
3
Hide paintings such as those by Cotsiogo (Cadzi Cody) were important to Shoshone artists because of the response from
other Shoshone, who wore them during ceremonies
tribal leaders, who wanted them for recording events
Euro-American tourists, who were eager to buy them
national museums, which sought them for growing collections
4
The observatory at Machu Picchu is believed to have been used for
a place of gathering for high ranking clergy and nobles
worship and prayer
cloud watching
tracking astronomical events
5
Originally, the Bandolier Bag was typically made by women and worn by men to compliment a ceremonial outfit.
True
False
6
Which work demonstrates the continued importance of the Andean textile tradition?
The Ardabil Carpet
All-T'opaqu tunic
Ahu’ula
Hiapo
7
What purpose did the architect's inclusion of ostrich eggs serve at the Great Mosque of Djenne?
a sign of wealth and high social status
to be used in ceremonies and rituals
as an offering to the gods
a symbolic representation of fertility and purity
8
Which people built Great Zimbabwe?
Ashante
Sande
Baule
Shona
9
The use of imported materials such as tiny colored glass beads and silk ribbons on Bandolier bags were intended to show
the political power of the wearer, who received the materials as tributes
desire for the bags’ materials to reflect light during ceremonial dances
the function of the bags as indications of the wearers’ social status
the extinction of the animals that had provided traditional materials
10
The specific imagery on Kwakwaka'wakw transformation masks is primarily influenced by
the materials available to the carver and the animals associated with them
the clan association of the person qualified to dance the mask
the animals associated with the season in which a carver creates the mask
the relationship between the carver and the person who commissions the mask
11
When a Kwakwaka'wakw transformation mask was used in a ceremony, the audience would likely have felt that the wearer was
being purified as a first step in an initiation ritual
filled with energy from ancestors or spirit forces
binding the community together so that all would gain strength
trying to capture the unwary and take them to a spirit’s house
12
The form of the Great Mosque of Djenne was influenced primarily by the form of
the hypostyle mosques of earlier Islam
no other building in the world - it is entirely unique in form
the greek cross plan
the great central plan mosques built after the fall of Constantinople
13
The Golden Stool belonged to which people?
Bantu
Shona
Ashanti
Sande
14
The variety of t'oqapu designs covering the All-T'oqapu tunic indicates to scholars that
it was created during the colonial period and traded to the Spanish
the garment was a royal tunic that symbolized the power of the Sapa Inka
the garment was an offering to Inti, the Inka sun god and chief deity
the garment was pieced together from many smaller pieces
15
San Ildefonso Pueblo artist Maria Martinez achieved the decorative black-on-black effect of the ceramic vessel shown by
firing it outdoors using an oxygen-reduction technique
firing it in a closed kiln at a controlled temperature
painting it with carbon-based pigments after firing
mixing the wet clay with pigments made from obsidian
16
The Golden Stool of the Ashanti people must be presented on its side, resting on its own stool, to remind viewers that
the stool is sacred and no person may sit on it
the stool is of devine power and only the oba may sit on it
the stool is only used during special occasions and ceremonies
the stool is unable to stand on its own because of its fragile material
17
Access to the copper and tin needed for the brass wall plaque of Oba's palace was made possible among Edo people due to
their travels to teh Indian subcontinent
their trade with Portugese voyagers
their routes across the Shara desert
their warfare with central African kingdoms
18
The wall plaque from Oba’s palace shows continuity with other works created in the kingdom of Benin through its use of
multiple figures arranged in a triangular composition
human figures depicted with naturalistic proportions
lost-wax casting techniques using recycled brass
deep relief wood carving to depict Oba in beaded regalia
19
The stone masonry at Machu Picchu employed socketing, a structural technique that
locked boulders of all shapes and sizes firmly in
eliminated the need for traditional mortar
protected against damage caused by earthquakes
guided water through retaining walls during torrential downpours
20
The artist who created the wall plaque from Oba’s palace used which technique to show the Oba's importance?
hierarchical scale
continuous narration
scarification
linear perspective

APAH Works 161 - 170 Flashcards | StudBud