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 work shown was created using which of the following techniques commonly used in Aztec art?

• Lost-wax casting to create fine details

• Carving with stone tools to create a deep relief on the top and sides

• Heightening light and shadow effects by leaving the surfaces unpainted

• Stamping with stone tools to create designs in clay

This illustration of an ancient stele from Chavín de Huántar demonstrates the use of contour rivalry through

• the use of ambiguous shapes that can be interpreted as multiple depictions of different forms

• the inclusion of both frontal and profile views to present the figure’s full body

• the use of repeated curling shapes to contrast with the vertical and horizontal lines in the image

• the inclusion of abstract forms that imply the movements of the artist’s body

Although the Inkan capital city of Cusco was largely destroyed by invading Spaniards, many scholars believe that Cusco was originally laid out in the shape of a puma, a symbol of Inkan royal power, on the basis of

• written narratives by Inkan court historians

• extensive modern archaeological projects

• comparisons to the layout of Machu Picchu

• early written accounts by the Spanish

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

• desire for the bags’ materials to reflect light during ceremonial dances

• extinction of the animals that had provided traditional materials

• political power of the wearer, who received the materials as tributes

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

The work shown, attributed to Cotsiogo (Cadzi Cody), can be interpreted as an art form that affirms Eastern Shoshone identity because it was

• sold to tourists to help support members of the artist’s tribe

• worn by an Eastern Shoshone chief or accomplished warrior

• painted on an animal hide using natural pigments and stencils

• composed of motifs commonly found on traditional Puebloan pottery

The importance of the art from previous Mesoamerican civilizations to the Aztecs who built the Templo Mayor in Tenochtitlan is demonstrated by the

• Olmec-style mask excavated from within the sacred precinct

• ancient Maya sanctuary discovered beneath the temple

• conquistadors’ reports regarding the use of Olmec textiles in Aztec sacrificial rituals

• representation of Maya deities on the painted reliefs that adorned the building

The detail of a stone wall demonstrates Inka expertise with (a)  

• corbeling
• bas-relief
• ashlar masonry
• buttressing

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

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

• employ complex vaulting techniques for the creation of spacious interiors

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

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

• trade object used as a type of ancient currency

• 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