The Lanzón Stela’s importance to the complex of Chavín de Huántar is made evident by its

concealment within a series of mazes

The work shown, can be interpreted as an art form that affirms Eastern Shoshone identity because it was

painted on an animal hide using natural pigments and stencils

San Ildefonso Pueblo artist Maria Martínez achieved the decorative black-on-black effect by

firing it outdoors using an oxygen-reduction technique

The designs used for San Ildefonso black-on-black pottery reflects the influence of which of the following?

Prehistoric pottery shards found in the Southwest during the early 20th c.

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

protected against damage caused by earthquakes

The fact Lady Xoc is the focus of Yaxchilán lintels, such as the one shown, underscores the

power and influence of royal women of Yaxchilán in determining rulership

The material and shape of object shown from Chavín de Huántar indicates its likely function as a

nose ornament belonging to a high-ranking individual

The variety of t’oqapu designs covering the Al-T’oqapu tunic indicates

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

The Inkan capital city of Cusco was laid out in the shape of a puma, as a symbol of royal power, on the basis of

early written accounts by the Spanish

The use of imported materials like 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 Coyolxauhqui Stone was at the foot of the Templo Mayor staircase to communicate to the audience that the goddess

had been thoroughly humiliated and defeated

The artist intended the Kwakwaka’wakw transformation mask to be experienced in all of the following ways EXCEPT as

musically clanking and rattling while the wearer moved

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APAH: Indigenous Americas Review

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Questions 16

Answers

1
The Lanzón Stela’s importance to the complex of Chavín de Huántar is made evident by its
combination with a calendar stone
concealment within a series of mazes
alignment with the summer solstice
placement at the entrance of the complex
2
ALL of the following are similarities of both the Great Serpent Mound and Spiral Jetty EXCEPT
reference astronomical events
are experienced by being walked on
are best viewed from the air
were created by reworking materials present at the site
3
The work shown, can be interpreted as an art form that affirms Eastern Shoshone identity because it was
composed of motifs commonly found on traditional Puebloan pottery
worn by an Eastern Shoshone chief or accomplished warrior
painted on an animal hide using natural pigments and stencils
sold to tourists to help support members of the artist’s tribe
4
The round room in the foreground of the photograph is a
kiva
mihrab
stupa
atrium
5
San Ildefonso Pueblo artist Maria Martínez achieved the decorative black-on-black effect by
mixing the wet clay with pigments made from obsidian
firing it in a closed kiln at a controlled temperature
firing it outdoors using an oxygen-reduction technique
painting it with carbon-based pigments after firing
6
The designs used for San Ildefonso black-on-black pottery reflects the influence of which of the following?
Textile production techniques used throughout the Southwest
Early Mississippian pottery traded in the South Pacific.
Prehistoric pottery shards found in the Southwest during the early 20th c.
East Asian porcelain imported during the early twentieth century
7
The stone masonry at Machu Picchu employed socketing, a structural technique that
eliminated the need for traditional mortar
locked boulders of all shapes and sizes firmly in place
guided water through retaining walls during torrential downpours
protected against damage caused by earthquakes
8
The fact Lady Xoc is the focus of Yaxchilán lintels, such as the one shown, underscores the
belief of the Maya that only royal women were able to connect with spirits
power and influence of royal women of Yaxchilán in determining rulership
role of women in Mayan society as protectors of homes and sacred places
nature of royal participation in Mayan ritual bloodletting ceremonies
9
The material and shape of object shown from Chavín de Huántar indicates its likely function as a
diadem used to adorn a statue of a god in a private shrine
nose ornament belonging to a high-ranking individual
votive object given to a deity for the fulfillment of a wish
trade object used as a type of ancient currency
10
The variety of t’oqapu designs covering the Al-T’oqapu tunic indicates
the garment was an offering to Inti, the Inka sun god and chief deity.
the garment was created during the colonial period & traded to the Spanish.
the garment was a royal tunic that symbolized the power of the Sapa Inka.
the garment was pieced together from many smaller pieces.
11
The Inkan capital city of Cusco was laid out in the shape of a puma, as a symbol of royal power, on the basis of
early written accounts by the Spanish
extensive modern archaeological projects
comparisons to the layout of Machu Picchu
written narratives by Inkan court historians
12
The use of imported materials like 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
extinction of the animals that had provided traditional materials
desire for the bags’ materials to reflect light during ceremonial dances
function of the bags as indications of the wearers’ social status
13
The detail of a stone wall demonstrates Inka expertise with
buttressing
corbeling
ashlar masonry
bas-relief
14
The Coyolxauhqui Stone was at the foot of the Templo Mayor staircase to communicate to the audience that the goddess
had been thoroughly humiliated and defeated
had been transformed into corn following her death
was associated with the underworld
was an important deity of warfare
15
The artist intended the Kwakwaka’wakw transformation mask to be experienced in all of the following ways EXCEPT as
changing the wearer from human to eagle and back again
illuminated by firelight while the wearer danced
musically clanking and rattling while the wearer moved
opening and closing during performances
16
This fan demonstrates the Aztec tradition of
featherwork
relief carving
back-strap loom weaving
repoussé

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