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BDC1134_ARTD1034 Quiz 2

Total questions: 20

Worksheet time: 20mins

Name
Class
Date
1.

The emergence of a modern art tradition in 19th- and 20th-century Malaya has been attributed to the following EXCEPT

a)

Westernization

b)

the British education system

c)

timmigration

d)

trade

2.

Who among the earliest Malayan landscape watercolourists was also an art instructor at the Penang Impressionists group?

a)

Khaw Sia

b)

Yong Mun Sen

c)

Tay Hooi Keat

d)

Abdullah Ariff

3.

Which of the following is NOT a necessary accessory item a traditional Nyonya has to wear?

a)

necklace

b)

brooch

c)

hairpin

d)

beaded slippers

4.

The first art academy the Nanyang School was founded in Singapore based on the following factors EXCEPT

a)

cultural

b)

geographical

c)

economical

d)

political

5.

Which of the following is a common theme or subject matter portrayed in 19th century Malayan watercolour paintings?

 

I.       seaside

II.     self-portrait

III.   village

IV.  flowers

a)

I, II, III

b)

II, III, IV

c)

I, II, IV

d)

All of the above

6.

“X is a Singaporean artist, a pioneer of the Nanyang art style, and a driving force to the development of Modernism in visual art in the early 20th-century Singapore. He was also known for his signature depiction of Southeast Asian indigenous tribal people with elongated limbs and torso, almond-shaped faces and eyes in his paintings.” Who is artist X?

a)

Chen Chong Swee

b)

Cheong Soo Peng

c)

Chen Wen Hsi

d)

Lim Hak Tai

7.

Which of the following is NOT TRUE about the textile pua kumbu?

a)

A newborn baby is wrapped in it for the ceremony of its first bath.

b)

A corpse laid out in the longhouse before burial is covered with it.

c)

It is used as a sacred blanket as the term indicates.

d)

It bridges the mortal and spirit world, therefore spiritual power is woven into its design.

8.

Which type of wayang kulit is currently still active in Malaysia?

I.       Wayang Kulit Gedek

II.     Wayang Kulit Kelantan

III.   Wayang Kulit Purwa

IV.   Wayang Kulit Melayu

a)

I, II

b)

II, III

c)

II, IV

d)

I, III

9.

Western-style paintings introduced to the Malay Peninsular during the 19th century only began actively among the locals during the early 20th century, due to the following reasons EXCEPT

a)

Malay-Islamic fears and suspicions of Western education and cultural forms

b)

The non-Malay immigrants’ lack of exposure to Western artistic ideas

c)

Western-style paintings were considered foreign and not favoured by the locals

d)

Non-encouragement of artistic development by the British

10.

Which of the following are more common motifs in Pua Kumbu design?

 

I. poison darts

II. lizard

III. ocean

IV. warrior shield

a)

I, II, III

b)

I, II, IV

c)

II, III, IV

d)

All of the above

11.

Which of the following is NOT TRUE about the Peranakan?

a)

Their distribution of property is only to male offspring.

b)

They remain Chinese in their worship.

c)

They speak the Nyonya patois, a Malay-based dialect.

d)

Their social structure was patrilocal.

12.

Different styles of Wayang Kulit share commonalities and each has been influenced by significant cultures from neighbouring countries EXCEPT

a)

Vietnam

b)

Thailand

c)

Indonesia

d)

India

13.

The émigré Chinese teachers of the Nanyang Academy of Fine Arts were influenced by the following modern art movements EXCEPT

a)

AImpressionism

b)

Fauvism

c)

Expressionism

d)

Cubism

14.

Which of the following motif or pattern inspires the Malaysian batik?

 

I. fauna

II. flora

III. geometric

IV. abstract

a)

I, II, III

b)

II, III, IV

c)

I, II, IV

d)

All of the above

15.

Which of the following is true about the process of making the Pua Kumbu?

 

I.       It is created on a foot-treadle floor loom by interlacing parallel longitudinal threads called the warp with lateral threads called the weft.

II.     It uses dyes made from roots, bark leaves and other vegetation.

III.   It applies traditional designs that come from the Iban environment and universe.

IV.  Intricate and complicated patterns weaved are usually fine hook and curl designs.

a)

I, II, III

b)

II, III, IV

c)

I, II, IV

d)

All of the above

16.

The Baba & Nyonya (or the Peranakans) favoured the following motif/symbol EXCEPT

a)

peony

b)

phoenix

c)

dragon

d)

clouds

17.

The watercolour paintings of the Penang Chinese Art Club artists have the following features EXCEPT

a)

Fusion of both Western and Chinese styles and techniques

b)

Stylistically linked to Chinese sensibilities

c)

Interest in details

d)

Influenced by the Chinese tradition of landscape painting

18.

Which of the following statement is TRUE?

a)

The canting batik technique is using a block (wood or metal with motif) applied as stamping objects onto a white cloth.

b)

Wayang Kulit Gedek performs the Ramayana epic.

c)

The Peranakans’ crafts and arts is a distinct hybridized vernacular style in Malaya different from the mainland China style.

d)

The appearance and colours of traditional puppet characters are naturalistic and realistic.

19.

Which shadow play puppet below is NOT a principal character in the Wayang Kulit Kelantan?

a)
b)
c)
d)
20.

Which of the following is NOT TRUE about the Malay traditional kite Wau?

a)

The wau holds an important place in Kelantanese legend and symbolism.

b)

Wau made of paper and batik material are made for both flying and decorative purposes.

c)

The features of the wau are its head, waist, wings and base, as well as a bow.

d)

Perfect symmetry and intricate pattern designs are emphasized in the wau-making process.