Asian 2D Art - AP Art History
Card 0 of 92
Which of the following is NOT a key symbol in Buddhist iconography?
Which of the following is NOT a key symbol in Buddhist iconography?
The Lion symbolizes Buddha's royal status. The Wheel denotes Buddha's law. The Lotus is a symbol of Buddha's natural origins. Trees are not a key symbol in the iconographic scheme of Buddhist art.
The Lion symbolizes Buddha's royal status. The Wheel denotes Buddha's law. The Lotus is a symbol of Buddha's natural origins. Trees are not a key symbol in the iconographic scheme of Buddhist art.
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Fan Kuan's Travellers Among Mountains and Streams exemplifies Northern Song painting in its use of which of the following?
Fan Kuan's Travellers Among Mountains and Streams exemplifies Northern Song painting in its use of which of the following?
Monumental landscapes during the Northern Song dynasty are characterized by their use of three distinct perspectives in the composition: high distance, level distance, and deep distance.
Monumental landscapes during the Northern Song dynasty are characterized by their use of three distinct perspectives in the composition: high distance, level distance, and deep distance.
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White and Red Plum Blossoms, by Ogata Kōrin, is notable among Japanese art for its use of _________________.
White and Red Plum Blossoms, by Ogata Kōrin, is notable among Japanese art for its use of _________________.
Instead of painting in golden hued paint on the screen in his White and Red Plum Blossoms, Ogata Kōrin inlays actual gold leaf onto his work of art, having the gold dominate the work of art. This use of non-paint or ink materials in creating screens was a signature element of the Rinpa school, who also utilized items such as mother of pearl, although gold leaf was by far the most frequent material included in Rinpa school work.
Artwork from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Ogata\_Korin\_-\_RED\_AND\_WHITE\_PLUM\_BLOSSOMS\_(National\_Treasure)\_-\_Google\_Art\_Project.jpg
Instead of painting in golden hued paint on the screen in his White and Red Plum Blossoms, Ogata Kōrin inlays actual gold leaf onto his work of art, having the gold dominate the work of art. This use of non-paint or ink materials in creating screens was a signature element of the Rinpa school, who also utilized items such as mother of pearl, although gold leaf was by far the most frequent material included in Rinpa school work.
Artwork from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Ogata\_Korin\_-\_RED\_AND\_WHITE\_PLUM\_BLOSSOMS\_(National\_Treasure)\_-\_Google\_Art\_Project.jpg
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The work shown here is an example of a Japanese _____________.
The work shown here is an example of a Japanese _____________.
Folding screens are a central part of Japanese art due to their use in Japanese domestic architecture as dividers between different spaces. This meant that screens such as White and Red Plum Blossoms by Ogata Kōrin were central decorative objects in houses during the Edo Period of Japanese history. Ogata Kōrin's work was one of the key developments of folding screens as an art form.
Artwork from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Ogata\_Korin\_-\_RED\_AND\_WHITE\_PLUM\_BLOSSOMS\_(National\_Treasure)\_-\_Google\_Art\_Project.jpg
Folding screens are a central part of Japanese art due to their use in Japanese domestic architecture as dividers between different spaces. This meant that screens such as White and Red Plum Blossoms by Ogata Kōrin were central decorative objects in houses during the Edo Period of Japanese history. Ogata Kōrin's work was one of the key developments of folding screens as an art form.
Artwork from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Ogata\_Korin\_-\_RED\_AND\_WHITE\_PLUM\_BLOSSOMS\_(National\_Treasure)\_-\_Google\_Art\_Project.jpg
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The above picture is an example of art from what nation?
The above picture is an example of art from what nation?
This image, "The Great Wave Off Kanagawa" by Hokusai, is one of the iconic and indelible images of Japanes art. Done in the ukiyo-e woodblock printing style, the print is in many copies throughout the world, and in the usual fashion of nineteenth-century Japanese art, it depicts a dramatic force of nature in a landscape. Additionally, its formalism and representational elements are indicative of art from the Edo period (1603-1867).
This image, "The Great Wave Off Kanagawa" by Hokusai, is one of the iconic and indelible images of Japanes art. Done in the ukiyo-e woodblock printing style, the print is in many copies throughout the world, and in the usual fashion of nineteenth-century Japanese art, it depicts a dramatic force of nature in a landscape. Additionally, its formalism and representational elements are indicative of art from the Edo period (1603-1867).
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In Hindu iconography a figure with blue skin represents __________.
In Hindu iconography a figure with blue skin represents __________.
Krishna is seen as the full incarnation of the god Vishnu in many forms of Hinudism, and is therefore an extremely popular subject in Hindu religious art. Krishna is most easily identifiable as having blue skin, which is related to the meaning of his name in Sanskrit, "the dark one." Krishna has been worshipped as the supreme god since the middle ages in Hindu religious traditions.
Krishna is seen as the full incarnation of the god Vishnu in many forms of Hinudism, and is therefore an extremely popular subject in Hindu religious art. Krishna is most easily identifiable as having blue skin, which is related to the meaning of his name in Sanskrit, "the dark one." Krishna has been worshipped as the supreme god since the middle ages in Hindu religious traditions.
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During the Tokugawa shogunate, Japan carried out an isolationist policy; however, the Japanese allowed trade with the __________, which led to the inflow of Prussian Blue pigments. The deep blue is characteristic of many Japanese woodblock prints, such as The Great Wave Off Kaganawa by Katsushika Hokusai.
During the Tokugawa shogunate, Japan carried out an isolationist policy; however, the Japanese allowed trade with the __________, which led to the inflow of Prussian Blue pigments. The deep blue is characteristic of many Japanese woodblock prints, such as The Great Wave Off Kaganawa by Katsushika Hokusai.
The Dutch had quite an influence in Japan during this period; the Japanese adopted the "Dutch Learning," or Rangaku, philosophy to better understand Western European technological advances. Though the English did have some influence in Japan, the Dutch were far more influential in trade, ideology, and religion.
The Dutch had quite an influence in Japan during this period; the Japanese adopted the "Dutch Learning," or Rangaku, philosophy to better understand Western European technological advances. Though the English did have some influence in Japan, the Dutch were far more influential in trade, ideology, and religion.
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The work shown here depicts which Japanese geographical feature?
The work shown here depicts which Japanese geographical feature?
Kanagawa oki nama ura (Under the Wave off Kanagawa) is from a series of forty-six woodblock prints by Japanese artist Katsushika Hokusai depicting different images of the largest and most iconic mountain in Japan, Mount Fuji, called Thirty-Six Views of Mount Fuji, and which had an additional ten added after its significant popularity. Mount Fuji is placed in the low point of the waves which are tossing around fishing boats, and is recognizable for its volcanic dome shape.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Katsushika\_Hokusai,\_published\_by\_Nishimuraya\_Yohachi\_(Eijudō)\_-\_Under\_the\_Wave\_off\_Kanagawa\_(Kanagawa-oki\_nami-ura),\_also\_known\_as\_the\_Great\_Wave,\_from\_the\_series\_T...\_-\_Google\_Art\_Project.jpg
Kanagawa oki nama ura (Under the Wave off Kanagawa) is from a series of forty-six woodblock prints by Japanese artist Katsushika Hokusai depicting different images of the largest and most iconic mountain in Japan, Mount Fuji, called Thirty-Six Views of Mount Fuji, and which had an additional ten added after its significant popularity. Mount Fuji is placed in the low point of the waves which are tossing around fishing boats, and is recognizable for its volcanic dome shape.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Katsushika\_Hokusai,\_published\_by\_Nishimuraya\_Yohachi\_(Eijudō)\_-\_Under\_the\_Wave\_off\_Kanagawa\_(Kanagawa-oki\_nami-ura),\_also\_known\_as\_the\_Great\_Wave,\_from\_the\_series\_T...\_-\_Google\_Art\_Project.jpg
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Based on the composition of the work shown here, it can be inferred that the artist views nature as ___________________.
Based on the composition of the work shown here, it can be inferred that the artist views nature as ___________________.
The main structure of the painting is a massive storm wave tossing small ships at sea, which is why Katsushika Hokusai’s work is titled Kanagawa oki nama ura (Under the Wave off Kanagawa). Despite this chaotic foreground scene, and its sense of destruction, the image of Mount Fuji framed by the wave also shows nature as something awe-inspiring and majestic.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Katsushika\_Hokusai,\_published\_by\_Nishimuraya\_Yohachi\_(Eijudō)\_-\_Under\_the\_Wave\_off\_Kanagawa\_(Kanagawa-oki\_nami-ura),\_also\_known\_as\_the\_Great\_Wave,\_from\_the\_series\_T...\_-\_Google\_Art\_Project.jpg
The main structure of the painting is a massive storm wave tossing small ships at sea, which is why Katsushika Hokusai’s work is titled Kanagawa oki nama ura (Under the Wave off Kanagawa). Despite this chaotic foreground scene, and its sense of destruction, the image of Mount Fuji framed by the wave also shows nature as something awe-inspiring and majestic.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Katsushika\_Hokusai,\_published\_by\_Nishimuraya\_Yohachi\_(Eijudō)\_-\_Under\_the\_Wave\_off\_Kanagawa\_(Kanagawa-oki\_nami-ura),\_also\_known\_as\_the\_Great\_Wave,\_from\_the\_series\_T...\_-\_Google\_Art\_Project.jpg
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The Burning of the Sanjo Palace is a thirteenth-century handscroll from __________.
The Burning of the Sanjo Palace is a thirteenth-century handscroll from __________.
The Burning of the Sanjo Palace is one of the more famous and most representative works of classical Japanese art. This handscroll painting, done about one hundred years after the event it depicts, features swift brushstrokes to emphasize movement, has a strong use of diagonals, and presents largely undifferentiated figures. All of these are classic hallmarks of Japanese handscroll painting from the Kamakura period.
The Burning of the Sanjo Palace is one of the more famous and most representative works of classical Japanese art. This handscroll painting, done about one hundred years after the event it depicts, features swift brushstrokes to emphasize movement, has a strong use of diagonals, and presents largely undifferentiated figures. All of these are classic hallmarks of Japanese handscroll painting from the Kamakura period.
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The Japanese artist who created the series of woodblock prints Thirty-Six Views of Mount Fuji, which included the work The Great Wave off Kanagawa, is __________.
The Japanese artist who created the series of woodblock prints Thirty-Six Views of Mount Fuji, which included the work The Great Wave off Kanagawa, is __________.
Hokusai was one of many famous ukiyo-e (woodblock print artists) from his era in Japan, the early nineteenth century. Over time, however, Hokusai's focus on grand landscapes and his immaculate skill, well shown in his series of prints of Mount Fuji, have garnered him more respect than most of his contemporaries. The Great Wave Off Kanagawa is the most famous Japanese woodblock print in the West.
Hokusai was one of many famous ukiyo-e (woodblock print artists) from his era in Japan, the early nineteenth century. Over time, however, Hokusai's focus on grand landscapes and his immaculate skill, well shown in his series of prints of Mount Fuji, have garnered him more respect than most of his contemporaries. The Great Wave Off Kanagawa is the most famous Japanese woodblock print in the West.
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![128px-Bijin_Oiran.jpg]()
Paintings like Takahashi Yuichi’s Oiran characterize the culturally mixed nature of the early Meiji period in which of the following ways?
Paintings like Takahashi Yuichi’s Oiran characterize the culturally mixed nature of the early Meiji period in which of the following ways?
Oiran highlights the cultural foment of the early Meiji period. Created to evoke nostalgia for vanishing elements of Japanese culture, the painting's subject matter of a grand courtesan is typical of traditional Ukiyo-e printmaking. It is unique, however, in that it does not represent the courtesan's features in the idealizing manner of ukiyo-e artists, but rather in the more analytical manner of Western portraiture.
Oiran highlights the cultural foment of the early Meiji period. Created to evoke nostalgia for vanishing elements of Japanese culture, the painting's subject matter of a grand courtesan is typical of traditional Ukiyo-e printmaking. It is unique, however, in that it does not represent the courtesan's features in the idealizing manner of ukiyo-e artists, but rather in the more analytical manner of Western portraiture.
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![256px-Shiva_as_the_Lord_of_Dance_LACMA_edit.jpg]()
The work shown here was made in which of the following regions?
The work shown here was made in which of the following regions?
This statue is an image of Shiva, the Hindu god of destruction and renewal, which obviously shows it was created in a predominantly Hindu area. The close attention to Shiva’s traditional iconography, featuring four arms and placing him in the “Lord of Dance” pose known as “Nataraja,” places its creation in a traditionally Hindu area of India. Indeed, the Chola dynasty in southern India was one of the key centers for the worship of Shiva in 10th century India.
Image is in the public domain accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Shiva\_as\_the\_Lord\_of\_Dance\_LACMA\_edit.jpg
This statue is an image of Shiva, the Hindu god of destruction and renewal, which obviously shows it was created in a predominantly Hindu area. The close attention to Shiva’s traditional iconography, featuring four arms and placing him in the “Lord of Dance” pose known as “Nataraja,” places its creation in a traditionally Hindu area of India. Indeed, the Chola dynasty in southern India was one of the key centers for the worship of Shiva in 10th century India.
Image is in the public domain accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Shiva\_as\_the\_Lord\_of\_Dance\_LACMA\_edit.jpg
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Based on style and composition, this work was created in ________________.
Based on style and composition, this work was created in ________________.
This work, Kanagawa oki nama ura (Under the Wave off Kanagawa) by Katsushika Hokusai, is a classic of the Japanese woodblock printing tradition. Crafted for replication, Hokusai’s work is from a series known as Thirty-Six Views of Mount Fuji, which showed the iconic Japanese mountain from a variety of perspectives and in different conditions. The sharp lines and highly structured formal representation are characteristic of Japanese art in general and the ukiyo-e style in particular.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Katsushika\_Hokusai,\_published\_by\_Nishimuraya\_Yohachi\_(Eijudō)\_-\_Under\_the\_Wave\_off\_Kanagawa\_(Kanagawa-oki\_nami-ura),\_also\_known\_as\_the\_Great\_Wave,\_from\_the\_series\_T...\_-\_Google\_Art\_Project.jpg
This work, Kanagawa oki nama ura (Under the Wave off Kanagawa) by Katsushika Hokusai, is a classic of the Japanese woodblock printing tradition. Crafted for replication, Hokusai’s work is from a series known as Thirty-Six Views of Mount Fuji, which showed the iconic Japanese mountain from a variety of perspectives and in different conditions. The sharp lines and highly structured formal representation are characteristic of Japanese art in general and the ukiyo-e style in particular.
Image accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Katsushika\_Hokusai,\_published\_by\_Nishimuraya\_Yohachi\_(Eijudō)\_-\_Under\_the\_Wave\_off\_Kanagawa\_(Kanagawa-oki\_nami-ura),\_also\_known\_as\_the\_Great\_Wave,\_from\_the\_series\_T...\_-\_Google\_Art\_Project.jpg
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The Burning of the Sanjo Palace is a thirteenth-century handscroll from __________.
The Burning of the Sanjo Palace is a thirteenth-century handscroll from __________.
The Burning of the Sanjo Palace is one of the more famous and most representative works of classical Japanese art. This handscroll painting, done about one hundred years after the event it depicts, features swift brushstrokes to emphasize movement, has a strong use of diagonals, and presents largely undifferentiated figures. All of these are classic hallmarks of Japanese handscroll painting from the Kamakura period.
The Burning of the Sanjo Palace is one of the more famous and most representative works of classical Japanese art. This handscroll painting, done about one hundred years after the event it depicts, features swift brushstrokes to emphasize movement, has a strong use of diagonals, and presents largely undifferentiated figures. All of these are classic hallmarks of Japanese handscroll painting from the Kamakura period.
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Fan Kuan was a Chinese artist famous for painting ____________.
Fan Kuan was a Chinese artist famous for painting ____________.
Fan Kuan lived in the Song Dynasty. His only remaining work is Travelers by Streams and Mountains. It is ink on a silk hanging scroll that was almost seven feet tall. This work was part of the Northern Song school of monumental landscapes.
Fan Kuan lived in the Song Dynasty. His only remaining work is Travelers by Streams and Mountains. It is ink on a silk hanging scroll that was almost seven feet tall. This work was part of the Northern Song school of monumental landscapes.
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Based on style and composition, the work shown here was created in ________________.
Based on style and composition, the work shown here was created in ________________.
Like much Asian art, White and Red Plum Blossoms, by Ogata Kōrin, shown here, is an idealized landscape rendered in simple forms. However, Ogata's extremely representational style and use of gold is a signature of the Rinpa school of Japan, which flourished in the seventeenth and eighteenth centuries. Due to Japan's isolationism in these centuries, artists could develop idiosyncratic styles which were distinct from other related cultural art forms.
Artwork from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Ogata\_Korin\_-\_RED\_AND\_WHITE\_PLUM\_BLOSSOMS\_(National\_Treasure)\_-\_Google\_Art\_Project.jpg
Like much Asian art, White and Red Plum Blossoms, by Ogata Kōrin, shown here, is an idealized landscape rendered in simple forms. However, Ogata's extremely representational style and use of gold is a signature of the Rinpa school of Japan, which flourished in the seventeenth and eighteenth centuries. Due to Japan's isolationism in these centuries, artists could develop idiosyncratic styles which were distinct from other related cultural art forms.
Artwork from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Ogata\_Korin\_-\_RED\_AND\_WHITE\_PLUM\_BLOSSOMS\_(National\_Treasure)\_-\_Google\_Art\_Project.jpg
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The work shown here was created to be displayed in _______________.
The work shown here was created to be displayed in _______________.
White and Red Plum Blossoms by Ogata Kōrin is a large paper screen, made out of fine ink and gold leaf. The high quality materials used by Ogata for a screen make it a display item that could also be a functional element in a household. The screens created by Japanese artists in the Rinpa school, such as Ogata, were often one of the features of the homes of the elite and wealthy merchants in Edo Period Japan.
Artwork from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Ogata\_Korin\_-\_RED\_AND\_WHITE\_PLUM\_BLOSSOMS\_(National\_Treasure)\_-\_Google\_Art\_Project.jpg
White and Red Plum Blossoms by Ogata Kōrin is a large paper screen, made out of fine ink and gold leaf. The high quality materials used by Ogata for a screen make it a display item that could also be a functional element in a household. The screens created by Japanese artists in the Rinpa school, such as Ogata, were often one of the features of the homes of the elite and wealthy merchants in Edo Period Japan.
Artwork from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Ogata\_Korin\_-\_RED\_AND\_WHITE\_PLUM\_BLOSSOMS\_(National\_Treasure)\_-\_Google\_Art\_Project.jpg
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The above image is a woodblock print, meaning it __________.
The above image is a woodblock print, meaning it __________.
The woodblock format, popular throughout Asia, is an artistic format that is produced by having a large piece of wood cut into and dyed by the artist. Thereafter, this woodblock can be printed onto canvas or paper, making it extremely easy to duplicate the work of art again and again.
The woodblock format, popular throughout Asia, is an artistic format that is produced by having a large piece of wood cut into and dyed by the artist. Thereafter, this woodblock can be printed onto canvas or paper, making it extremely easy to duplicate the work of art again and again.
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"Ukiyo-e" is a Japanese term for a piece of art produced through the use of __________.
"Ukiyo-e" is a Japanese term for a piece of art produced through the use of __________.
Ukiyo-e was the dominant form of Japanese art in the Edo period (1603-1867), and was aimed largely at the newly dominant upper middle classes by featuring images of geishas, sumo wrestlers, and kabuki actors. Ukiyo-e works were made from woodblock prints that allowed the artist to imprint a similar image on many different pieces of paper after creating just one block. Its handmade nature, however, allowed the pieces to be hand colored and shifted each time a new one was made.
Ukiyo-e was the dominant form of Japanese art in the Edo period (1603-1867), and was aimed largely at the newly dominant upper middle classes by featuring images of geishas, sumo wrestlers, and kabuki actors. Ukiyo-e works were made from woodblock prints that allowed the artist to imprint a similar image on many different pieces of paper after creating just one block. Its handmade nature, however, allowed the pieces to be hand colored and shifted each time a new one was made.
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