AP Art History Unit 6 Review

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

• the garment was pieced together from many smaller pieces.

• 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 created during the colonial period and traded to the Spanish.

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 animals associated with the season in which a carver creates the mask

• the clan association of the person qualified to dance the mask

• the relationship between the carver and the person who commissions the mask

Lintel 25 from Yaxchilán, depicting Lady Xoc, is recognizable as a Mayan work because of its

• animals figures engaging in human actions, geometric simplification, and hierarchical scale

• precious materials, continuous narration, and representation of a figure in meditation

• hieroglyphics, decorative patterns, and richly dressed figures in the midst of rituals

• naturalistic drapery, landscape setting, and use of shading to create illusionistic space

Which work demonstrates the continued importance of the Andean textile tradition?

• All-T’oqapu tunic

• Bayeux Tapestry

• Hiapo (tapa) cloth

• Bandolier bag

The combination of zoological and anthropomorphic forms in the work shown functions as

• a representation of the battle between one’s human and animal nature

• a metaphor for the physical renewal of women after childbirth

• a symbol of a deceased person’s passage to the spirit realm

• an external display of the transformation of the wearer

When a Kwakwaka’wakw transformation mask was used in a ceremony, the audience would most 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

• trying to capture the unwary and take them to a spirit’s house

• binding the community together so that all would gain strength

The miniature garden at the Inka temple of Qorikancha included sculptures of maize cobs made from

• cedar wood

• wool and cotton fibers

• colorfully dyed feathers

• thin sheets of metal

Which of the following sources has been used by scholars of Yaxchilán to support the theory that the lintel carvings of Structure 23 were intended to reinforce Shield Jaguar II’s rule?

• Contemporary Maya celebrations that mark significant passages in people’s lives

• Translations of the glyphic inscriptions that accompany the image on Lintel 25

• Translations of existing codices that were originally stored in Structure 23

• Analysis of transcriptions of oral history that were made by the Spanish

The location of the Lanzón Stela in the Old Temple of Chavín de Huántar suggests that the creators of the building most likely intended to

• facilitate pilgrims’ circumambulation of the stela during annual processions

• heighten the spiritual drama of the viewer’s ritualized encounter with the stela

• maximize the stela’s exposure to the rising sun on the winter solstice

• enhance visibility of the stela for the audiences during coronation

The stone Walls of Saqsa Waman at Cusco exemplify Inka architectural conventions in that they

• incorporate standardized stone blocks assembled in a lattice-like pattern

• employ complex vaulting techniques for the creation of spacious interiors

• consist of megalithic stone blocks joined without the use of mortar

• utilize buttresses to contain the lateral thrust of the reinforcing arches