WorksheetsUnit 5- Indigenous Americas
Total questions: 18
Worksheet time: 16mins
This fan demonstrates the Aztec tradition of
repoussé
back-strap loom weaving
relief carving
featherwork
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
San Ildefonso Pueblo artist Maria Martínez achieved the decorative black-on-black effect of the ceramic vessel shown by
painting it with carbon-based pigments after firing
firing it outdoors using an oxygen-reduction technique
firing it in a closed kiln at a controlled temperature
mixing the wet clay with pigments made from obsidian
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 Coyolxauhqui Stone was placed at the foot of the Templo Mayor staircase in order to communicate to the Mexica audience that the goddess
was an important deity of warfare
was associated with the underworld
had been transformed into corn following her death
had been thoroughly humiliated and defeated
The detail of a stone wall demonstrates Inka expertise with
ashlar masonry
corbeling
bas-relief
buttressing
The round room in the foreground of the photograph is a
stupa
atrium
kiva
mihrab
The fact Lady Xoc is the focus of Yaxchilán lintels, such as the one shown, underscores the
role of women in Mayan society as protectors of homes and sacred places
power and influence of the royal women of Yaxchilán in determining rulership
everyday nature of royal participation in Mayan ritual bloodletting ceremonies
belief of the Maya that only royal women were able to connect with spirits
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 stone masonry at Machu Picchu employed socketing, a structural technique that
guided water through retaining walls during torrential downpours
locked boulders of all shapes and sizes firmly in place
protected against damage caused by earthquakes
eliminated the need for traditional mortar
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
Hide paintings such as those produced by Cotsiogo (Cadzi Cody) in the late 1800s were important to Shoshone artists in part because of the response the hide paintings got from
Euro-American tourists, who were eager to buy them
national museums, which sought them for growing collections
other Shoshone, who wore them during ceremonies
tribal leaders, who wanted them for recording events
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
a Great Plains landscape with monochromatic tones
a composition divided into small squares that each contain different symbols
curvilinear plant motifs that contrast with geometric patterns
The design of the Templo Mayor as a double pyramid signifies the
original creation of the Aztec Empire out of two independent kingdoms
division of power in the Aztec Empire into worldly and religious leadership
dedication of the temple to two different deities important to the Aztecs
dualistic nature of the Aztec’s patron deity as a god of war and peace
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 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
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.
