AP Art History West and Central Asia

Both Angkor and Lakshmana temples hare all of the following features EXCEPT that neither

• contains a subshrine that incorporates a processional bronze

• commemorates the life and achievements of a king

• exemplifies a panchayatana temple design

• re-creates symbolically the cosmic Mount Meru

This Relief from Angkor depicts

• The Churning of the Ocean of Milk, a Hindu story

• The Birth of the Buddha

• The travels and teachings of Confucius

• The Death of Lao Tze, a Daoist Story.

The temple at Angkor Wat was originally designed as a

• manifestation of the connection between the king and divine power

• center of worship for the faithful, including towers used for the call to prayers

• site where pilgrims could gather to offer gifts of thanks or prayers for safety

• monastery complex with entrances oriented toward the cardinal points

The practice of circumambulating Hindu temples such as the Lakshmana Temple was intended to enable devotees to

• meditate on Hindu principles as they approached the inner sanctuary

• find others who worshipped Vishnu, the primary deity of the temple

• visualize the history of the spread of Hinduism throughout the region

• locate sculptures of the particular deity whose protection they desired

The traditional abhaya mudra displayed by Shiva in the Chola bronze Shiva as Lord of Dance (Nataraja) is used to

• provide comfort so that the viewer will not be afraid while in the presence of the god

• symbolize the soul's division into different parts as it prepares for the afterlife

• denote intense meditation as Shiva initiates the dramatic cycles of creation and destruction

• highlight the god's role in aiding worshippers to eradicate ignorance of the illusory world

When designing the Ardabil Carpet, in consideration of the fact that it would be displayed in a sacred space, the artist decided to include a

• field of small rectangular shapes that symbolize individuals, events, or places

• group of dancing figures playing musical instruments in festive celebration

• golden background in order to indicate spirituality and timelessness

• large central medallion that supports two lamps shown hanging from each end

The decoration of the Pyxis of al-Mughira draws on Islamic artistic traditions in that it

• incorporates calligraphic inscriptions

• includes only aniconic imagery

• was created through the process of repoussé

• is accentuated by richly polychromed surfaces

The additional red, green, and gold marks that were placed close to the brown calligraphic script are a significant departure from other examples of Arabic calligraphy and were included to

• visually assist with the readability and oral recitation of such an important text

• indicate ownership of the document as it was passed down through generations

• serve as design elements that contrast with the horizontal and vertical lines of the letters

• indicate the patron’s wealth through the use of expensive and rare colored dyes

In Great Il-Khanid Shahnama folios such as Bahram Gur Fights the Karg, techniques and motifs borrowed from traditional Chinese sources were incorporated to create a

• new style of manuscript illumination that combines elements from various artistic traditions

• link between the new Mongol Dynasty and Persia’s long-lasting culture

• sense of the harmony believed to exist between humankind and the landscape

• version of the ukiyo-e style that dominated popular art at the time

In The Court of Gayumars, Sultan Muhammad’s use of intricacy, fanciful figures, and lavish color had the effect of

• encouraging viewers to take their time in exploring the details of the work

• communicating the similarities between Persian history and the life of the court

• counteracting prevailing opinions that Persian artistic traditions were outmoded

• influencing courtiers to respect their ruler as a direct descendant of Gayumars