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APAH - South, East, and Southeast Asia Artworks - Statistics

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Answer Stats
Hint Artwork % Correct
The (included) Hindu artist holds a minature with two horses and an elephant (perhaps a gift from the patron); he symbolically signs his name on the footstool Jahangir Preferring a Sufi Shaikh to Kings
100%
Main pyramid surrounding by four corner temples Angkor Wat
0%
Uses corbelled gallery roofs (influenced by Indian use of such) despite knowledge of other vaulting techniques; enjoyed enclosed space created Angkor Wat
0%
Intended as a home of the god dedicated to Vishnu; possibly used as a mausoleum to its main patron King Suryavarman II Angkor Wat
0%
Medieval capital of Cambodia Angkor Wat
0%
Has mountain-like peaks symbolizing the peaks of Mount Meru: a sacred mountain said to be the axis-mundi (physically and spiritually) in Hinduism and Buddhism Angkor Wat
0%
Contains the Churning of the Ocean of Milk: a bas-relief depicting the gods (devas), guided by Vishnu, working with the devils (asuras) to churn the ocean of milk with Vasuki as its aparatus Angkor Wat
0%
Contains a sculpture of Jayavarman VII as Buddha with a mixture of Buddhist and Hindu iconography Angkor Wat
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Contains a sculpture of Buddha as a small smile showing his peaceful detachment Angkor Wat
0%
Features extensive control of water via reservoirs and canals to prevent floord risk Angkor Wat
0%
Located in Central Java, Indonesia on a low hill rising above a wide plain Borobudur Temple
0%
Pyramid-form temple aligned with the four cardinal points; is a place of pilgrimmage Borobudur Temple
0%
Temple built from volcanic stone with a total of nine terraces

(Inferno reference??? probably definitely not)

 Borobudur Temple
0%
Has 72 open stupas with Buddha with a preaching mudra; contains 504 life-size Buddhas and 1.55 miles of narrative relief Borobudur Temple
0%
The bottom square terrace symbolizes the world of earthly desire; reliefs show Buddha in previous incarnations performing deeds of self sacrificing and his last incarnation Borobudur Temple
0%
The five more-central square terraces symbolizes control over earthly desires; reliefs show the pilgrimage of Sudhana on his search for the Ultimate Truth Borobudur Temple
0%
Its superstructure (the three smaller circular terraces) represent the formless world without worldly desires; topped by an enclosed stupa Borobudur Temple
0%
Contains a high relief carving of the majestic Queen Maya momentarily resting, on a horse carriage, retreating to Lumbini to give birth to Prince Siddhartha Gautama (Buddha) brought in a great ceremonial procession Borobudur Temple
0%
Prominently displays future Chinese communist leader Mao Zedong Chairman Mao en Route to Anyuan
0%
Depicts the historical event (in the 1920s) of the subject on his journey to Anyuan to lead a miner's strike which formed a bond with him and the Communist Party Chairman Mao en Route to Anyuan
0%
Includes a landscape with intimations of industrialization (powerline, dam) as well as many more natural elements Chairman Mao en Route to Anyuan
0%
Dramatic poster-like propoganda painting with vivid colors Chairman Mao en Route to Anyuan
0%
Depicts the youthful, idealized subject as hierachically massive (larger than a mountain) Chairman Mao en Route to Anyuan
0%
Done by an anonymous artist, as the art was thought of as a service to country and credit was against the nation's political ideals Chairman Mao en Route to Anyuan
0%
Painted during the Cultural Revolution of 1966 to 1976 in which high art was designated as burgeois and art was purely for the service of the state Chairman Mao en Route to Anyuan
0%
Based on a painting by Liu Chunhua which appeared at Beijing Museum two years prior in 1967 Chairman Mao en Route to Anyuan
0%
May be the most printed artworks ever (reportedly over 900 million times) facilitated by the medium being a color lithograph Chairman Mao en Route to Anyuan
0%
Western influence derived from importration of Russian painting; use of perspective, romanticism influences, and a triangular compositon are seen Chairman Mao en Route to Anyuan
0%
Largest and most complete Chinese architectural ensemble; created by the Ming Dynasty in the 1400s Forbidden City
0%
Has 30-feet-high walls to ensure no unathorized access or exit of the complex Forbidden City
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Contains four towers in each corner representing the corners of the world Forbidden City
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Its front gate currently features a hanged portrait of Mao Zedong Forbidden City
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Primaries the colors yellow and red; the colors associated with the emperor Forbidden City
0%
The complex focuses on the Hall of Supreme Harmony, the throne room Forbidden City
0%
The complexes focus is where festival takes place, such as solstices or the emperor's birthday Forbidden City
0%
The Hall of Supreme Harmony is hierachically the largest in the complex, symbolizing its importance Forbidden City
0%
Capital of during the Ming and Qing Dynasties Forbidden City
0%
Features a dragon-themed throne and the empire wears dragon-themed robe in this complex Forbidden City
0%
Features apotropaic figures to ward off fire and evil spirits Forbidden City
0%
Extreme extension of the courtyard-style of complexes (privately contained areas of residence) Forbidden City
0%
A massive Chinese pagoda (eastern evolution of the stupa) with tiled roofs and eaves hanging away from the walls Forbidden City
0%
Mandate of Heaven (Chinese belief of divinely-elected royalty) makes the complex reflect heaven itself (microcosm) Forbidden City
0%
Contains the Palace of Tranquility and Longjevity in which the old, retired emperors would relax on the complex Forbidden City
0%
Uses corbelled brakcets (to transition column's top and eaves); uses painted wood to preserve it and for artistic effect Forbidden City
0%
Its top section contains a screscent moon and ten suns with two seated officers guarding the entrance to the heavenly world Funeral banner of Lady Dai (Xin Zhui)
0%
Its middle section displays the mortal world with the subject holding a walking stick preparring her journey to the heavenly realm Funeral banner of Lady Dai (Xin Zhui)
0%
Its bottom section shows the underworld with symbolically low creatures (fish, turtles, dragon tails) and tomb guardians Funeral banner of Lady Dai (Xin Zhui)
0%
T-shaped in order to fully cover the inner coffin Funeral banner of Lady Dai (Xin Zhui)
0%
Likely carried in procession before being placed over the body to speed up its life journey Funeral banner of Lady Dai (Xin Zhui)
0%
On the left features Yin symbols and on the right Yang symbols with the center mixing those two philosophies; Daoist elements Funeral banner of Lady Dai (Xin Zhui)
0%
Royal object made by the Korean Silla Kingdom Gold and jade crown
0%
Perhaps for a ceremony or burial; found in royal tomb in Gyeongju, Korea Gold and jade crown
0%
Very lightweight and, ergo, had limited use Gold and jade crown
0%
Stylized geometric shapes symbolize trees Gold and jade crown
0%
Use of jade (given its green color) represent fruit on trees Gold and jade crown
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Antler forms influenced by Siberian shamanistic practices Gold and jade crown
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Tree imagery reflects world tree (axis-mundi, like Mt. Meru) Gold and jade crown
0%
Located in Sanchi, India Great Stupa
0%
Contains the relics of the Buddha Great Stupa
0%
Worshippers circumambulate the hemisphere circularly clockwise (direction of the sun) suggesting the endless cycle of birth and rebirth Great Stupa
0%
Topped by three umbrellas representing Buddha, Buddha's law, and monastic order, respectively Great Stupa
0%
A railing around the umbrellas atop this structure represents a sacred tree Great Stupa
0%
Four toranas form the entrance each cardinal direction; symbolically represent the sun's course (sunrise, zenith, sunset, and nadir) and Buddha's life (birth, enlightenment, first sermon, and nirvana) Great Stupa
0%
Toranas have intricate richly-carved horror-vacui scenes with high-relief sculptures Great Stupa
0%
Features Yakshi figures (Pre-Buddhist nature spirits in erotic, elaborate dance poses) symbolizing fertility Great Stupa
0%
Contains 600 inscriptions, from common people to monks, revealing donors; likely to get karma Great Stupa
0%
Painted by Bichitr in 1620 Jahangir Preferring a Sufi Shaikh to Kings
0%
Its subject is shown as the source of all light, surrounded by a halo composed of the sun and moon Jahangir Preferring a Sufi Shaikh to Kings
0%
Its subject sits on an hourglass throne (possibly symbolizes time running out) Jahangir Preferring a Sufi Shaikh to Kings
0%
Its subject wears a single pearl, showing his devotion to an 11th century saint Jahangir Preferring a Sufi Shaikh to Kings
0%
A holy man, Sufi Sheik, hands (or is handed) a book with the main figure Jahangir Preferring a Sufi Shaikh to Kings
0%
The holy man being located above the kings and the main figure symbolizes the Jahangir Preferring a Sufi Shaikh to Kings
0%
Features British king James I, based on a gifted portrait attributed to John de Critz (given by Sir Thomas Roe) Jahangir Preferring a Sufi Shaikh to Kings
0%
Feature an Ottoman sultan (not a real portrait) who shows deference to the main figure Jahangir Preferring a Sufi Shaikh to Kings
0%
Features a below quotation in the frame which reads: "Though outwardly shahs stand before him, he fixes his gazes on dervishes" (members of Sufi Muslim aesthetic orders) Jahangir Preferring a Sufi Shaikh to Kings
0%
Features two small cherubs copied from European paintings who wish the patron a long life of a thousand years Jahangir Preferring a Sufi Shaikh to Kings
0%
Showcases a Renaissance carpet in the background Jahangir Preferring a Sufi Shaikh to Kings
0%
Its patron had many artist follow him so he could record whatever he wanted Jahangir Preferring a Sufi Shaikh to Kings
0%
Shows a crowded composition with tilted-upwards persepctive and floral patterns Jahangir Preferring a Sufi Shaikh to Kings
0%
The figures have a doll-like character with black outlines and a wide range of emotions Jahangir Preferring a Sufi Shaikh to Kings
0%
Reflects the cosmpolitian nature of the shah and the Mughal empire as a whole Jahangir Preferring a Sufi Shaikh to Kings
0%
Located in Khajuraho, India and made of fine sandstone ashlar masonry Lakshmana Temple
0%
Placed on a plinth (high pedestal) and has verticality to be seen from a distance, mimicking the peaks of a mountain range; positioned east to west to receive direct sun rays when it rises Lakshmana Temple
0%
Predominated by shikara: intertwining similar forms layered to form large towers Lakshmana Temple
0%
Centered around the embryo (garbhagriha) room: a very compact area for individual worship Lakshmana Temple
0%
Contains very erotic poses with sensuous, revealing clothing to symbolize regeneration (as part of the "family and reproduction" section of life, not seen as naughty) Lakshmana Temple
0%
Built by Chandella Dynasty's leader, Yashovarman, to legitimize his rule though completed posthumously by his son, Dharga; dedicated to the creator god, Vishnu Lakshmana Temple
0%
Contains lion statues, as the patron's family crest Lakshmana Temple
0%
Features in-isitu sculptures and reliefs with elongated legs and elaborate poses Longmen Caves
0%
Inscriptions states Empress Wu Zetian as the principal patroness, paid for via private funds Longmen Caves
0%
Located along the banks of the Yi River Longmen Caves
0%
Features over 2300 caves and niches carved around the site Longmen Caves
0%
Documents attest the patronage of 800,000 people producing 110,000 Buddhist stone statues, as well as some stupas and stele inscriptions Longmen Caves
0%
Features the Vairocana (universal) Buddha in colossal scale mirroring the Tang Dynasty's vast size and power Longmen Caves
0%
Main statue flanked by monk attendants, bodhisattvas, and guardians (as well as perhaps a portrait of the patron) Longmen Caves
0%
A narrative work read from right to left (as the scroll is unrolled) from a side angle from above Night Attack on the Sanjô Palace
0%
Signature on Yamato-e: long narrative scroll depicting Japanese literature or historical scenes with depersonalized figures Night Attack on the Sanjô Palace
0%
Strong diagonals and swift, active brushstrokes emphasize movement and action Night Attack on the Sanjô Palace
0%
Has depersonalzied figures: often one or a few lines represent facial features Night Attack on the Sanjô Palace
0%
Shows a mass of tangled forms with the last scene depicting a lone archer leading the escape, behind him a commander on horseback Night Attack on the Sanjô Palace
0%
Follows a chariot with the emperor repeatedly being placed (in narrative) escaping the palace Night Attack on the Sanjô Palace
0%
Reflective of Japanese interest of code of the warrior due to military rule from 1185 Night Attack on the Sanjô Palace
0%
Depicts coup staged in 1159 as Emperor Go-Shirakawa is taken prisoner; imperial palace burning, attempting to capture emperor Night Attack on the Sanjô Palace
0%
Painted a hundred years after the civil war depicted Night Attack on the Sanjô Palace
0%
Created by the Imperial Bureau of Painting of the Joseon Dynasty Portrait of Sin Sukju
0%
On a Korean hanging scroll, ergo, meant to be studied and appreciated not hung decoratively Portrait of Sin Sukju
0%
May have served as a focus for ancestral rituals and possibly to have been hung in a family shrine (hence emphasis on badge) Portrait of Sin Sukju
0%
Served as a reminder to the subject's descendants of his status Portrait of Sin Sukju
0%
Depicts a Korean prime minister who was a scholar, soldier, and involved in creating the Korean alphabet Portrait of Sin Sukju
0%
Portrait contains an insignia (badge communicating rank) designed with clouds and a wild goose showing he was a second-grade civil officer (at the time of the portrait) Portrait of Sin Sukju
0%
Emphasizes the Confucist virtue of loyalty, to both king and country Portrait of Sin Sukju
0%
Repainted over the years (especially after the subject's death) as an act of reverence towards the deceased Portrait of Sin Sukju
0%
Contains a Zen dry and wet garden; acts as a microcosm of nature Ryoan-ji
0%
Has a teahouse in which highly-sophisticated Japanese tea ceremonies would take place Ryoan-ji
0%
Plants highly organized in a structured environment to symbolize a natural world and ensure beauty at all times (offset bloomings) Ryoan-ji
0%
Has a dry garden: gravel with fifteen interplaced asymmetrical rocks along a low, yellow wall Ryoan-ji
0%
Dry garden can be interpretted in a variety of ways, e.g. as islands in a floating sea, mountain peaks above clouds, constellations, etc. Ryoan-ji
0%
Features veranda for residence to view the dry garden; from no view is entire garden visible at once Ryoan-ji
0%
Water (in the wet garden) symbolizes purification and is used in rituals Ryoan-ji
0%
The figure has four hands and a suggested third eye Shiva as Lord of Dance (Nataraja)
0%
One hand is holding onto a damaru (drum) in which he dances to Shiva as Lord of Dance (Nataraja)
0%
One hand is holding onto the agni (flame of destruction) Shiva as Lord of Dance (Nataraja)
0%
It offers the abhaya mudra, a gesture to allay fear, communicating that its action are not to be feared Shiva as Lord of Dance (Nataraja)
0%
The figure has an epicene quality; it is idealized, nearly nude, male figure Shiva as Lord of Dance (Nataraja)
0%
It's flying hair terminates in the form of cobra heads Shiva as Lord of Dance (Nataraja)
0%
Around the figure is a flaming nimbus representing the borders of Hindu cosmos; covered with flowers when carried in processions (enabled by a hole below the figure) Shiva as Lord of Dance (Nataraja)
0%
Below the figure is the Demon of Ignorance, which one foot steps on Shiva as Lord of Dance (Nataraja)
0%
Shows the god dancing the world to destruction for it to later be rebirthed Shiva as Lord of Dance (Nataraja)
0%
The figure has the ability to be bathed and clothed Shiva as Lord of Dance (Nataraja)
0%
Queen Mahadevi's patronage facilitated the distribution of this figure and its message: belief in Shiva can achieve salvation Shiva as Lord of Dance (Nataraja)
0%
Acts a receptacle for the divine spirit (to be prayed before) via actively seeing the invoked image, called darshan, and was royally treated with offerings, called puja Shiva as Lord of Dance (Nataraja)
0%
Contained in Chinese emperor Qin Shi Huang's (aka Shi Huangdi's; he unified China) mausoleum Terracotta Warriors
0%
Contains about 8000 sculptures all holding metal weapons (with 30,000 weapons in total) Terracotta Warriors
0%
Contains multiple chariots (mostly wood, a few bronze) Terracotta Warriors
0%
Statues have idealized traits, notably height (being six feet, incredibly tall for the time) Terracotta Warriors
0%
Statues have individualized traits and facial features (Daoism) expressing ethnic diversity Terracotta Warriors
0%
Terracotta sculptures were originally in colorful polychrome Terracotta Warriors
0%
Contained a north-south oriented tomb with a rectangular double-walled enclosure Terracotta Warriors
0%
Some body parts (e.g. hands, feet) were mass-produced with molds Terracotta Warriors
0%
Though discovered in 1974, some information is withheld due to more to be excavated and the secrecy of the Chinese government Terracotta Warriors
0%
Contains troughs of mercury; theorized to be to mimic landscape as if to create a microcosm (also possibly what Qin Shi Huang died from: mercury poisoning) Terracotta Warriors
0%
Made using coiling method to establish the tall, symmetrical structure The David Vases
0%
Made using potter's wheel to smooth out the structure The David Vases
0%
Expresses the continuity of blue and white ceramics made under the Yuan Dynasty (which was highly sought after, especially outside of China) The David Vases
0%
Cobalt blue imported from Iran (after China's expansion into western Asia making such available) The David Vases
0%
Modeled after bronzes of the same type The David Vases
0%
At its neck and feet, contains leaves and flowers The David Vases
0%
Have elephant-shaped handles The David Vases
0%
Central section has Chinese dragons (traditional long bodies, beards, scales, claws) in a sea of clouds The David Vases
0%
Made for altar of a Daoist temple along with a now-lost incense burner The David Vases
0%
Made by Jingdezhen porcelain (same material of Ai Weiwei's Sunflower Seeds) The David Vases
0%
Two-story building with graceful eaves overhanging (protect interior from sun and rain) Todai-ji
0%
Used undress wood to achieve natural grain and color which was seen as meditative (given Zen Buddhism) Todai-ji
0%
Reconstruction (after was destroyed due to military unrest) yielded a smaller building since many of the cypress trees had not grown back yet Todai-ji
0%
Main structure includes seven external bays on the facade while another gate includes five bays (the two outer ones closed) Todai-ji
0%
Original center of Buddhism and training scholar munks in Japan, combining religious and political messaging Todai-ji
0%
Name translate to "Great Eastern Temple" as it is on the edge of the city Todai-ji
0%
Located in Nara, Japan Todai-ji
0%
Its city is known for tamed deer that calmly rome the complex grounds, some being trained to bow to passerbys Todai-ji
0%
Contains colossal (50-feet-high) bronze sculpture of Vairocana Buddha; has a "do not fear," "welcome" mudra and a golden halo Todai-ji
0%
Its Buddha's mudras communicate a desire for peace as it came after a long period of war and chaos ("please stop fighting," nonetheless razed multiple times during military unrest) Todai-ji
0%
Contains the two Nio guardian figures on the south gate Todai-ji
0%
Two guardians formed through complexly-joined woodblock pieces Todai-ji
0%
Guardian figures emphasize masculine, fierceness and don intricate swirling drapery Todai-ji
0%
Contains Nandaimon (translating to great south gate), the main gate of the complex Todai-ji
0%
South gate includes an exposed roof supported by huge pillars and two stories of the same size (unusual); communicates proportion and stateliness Todai-ji
0%
Made c.1000 by Fan Kuan (as known by his signature hidden in the bushes) in Taiwan Travelers among Mountains and Streams
0%
Showcases a complex, vertical landscape Travelers among Mountains and Streams
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On a Chinese hanging scroll, ergo, meant to be studied and appreciated not hung decoratively Travelers among Mountains and Streams
0%
Balanaces vertical elements (waterfall, tall mountain) with horizontal elements (stream below) Travelers among Mountains and Streams
0%
A non-pure landscape due to the inclusion of donkeys driven by two men and a small temple hidden in a forest Travelers among Mountains and Streams
0%
Made after the artist isolated himself from civilization to study nature, an element of Daoist thought (though it contains Confucist and Buddhist elements as well) Travelers among Mountains and Streams
0%
Above the imagery, text and stamp show the history of ownership of the scroll Travelers among Mountains and Streams
0%
Made by Katsushika Hokusai in 1830 - 1833 Under the Wave off Kanagawa
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As part of the series Thirty-six Views of Mount Fuji Under the Wave off Kanagawa
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Personifies natures: seemingly intenting to drown Under the Wave off Kanagawa
0%
Depicts a giant wave drowning figures laying down in fear on a boat Under the Wave off Kanagawa
0%
Features a small Mount Fuji, a sacred site, in the flat background sky Under the Wave off Kanagawa
0%
Contrasts water and sky with large negative space Under the Wave off Kanagawa
0%
Prussian blue, which was highly-prized, imported makes seem unusual compared to contemporaries Under the Wave off Kanagawa
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Polychrome wood-block print that was reproduced Under the Wave off Kanagawa
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Highly praised and influencial to Western audiences and artists, e.g. Mary Cassatt Under the Wave off Kanagawa
0%
Involves collaboration between the publisher (who deems a comercial opportunity), the engraver, and the printer Under the Wave off Kanagawa
0%
Compares to Shinotism (native Japanese belief) where, in both, forces of nature unite Under the Wave off Kanagawa
0%
First time a landscape was the major theme in Japanese prints Under the Wave off Kanagawa
0%
Quintessence of ukiyo-e (meaning "pictures of the floating world"): a Japanese genre painting style showcasing the transient nature of everyday life, often used wood-block prints Under the Wave off Kanagawa
0%
Painted by Ogata Korin from 1710 to 1716 White and Red Plum Blossoms
0%
Quintessence of Rinya style (named after artist): gold background, bold clashing colors, often on screens White and Red Plum Blossoms
0%
Juxtaposes naturalism (of the trees) and abstraction (the swirls of the river; more abstracted than predecessors) White and Red Plum Blossoms
0%
Left shows an old, gnarled white tree White and Red Plum Blossoms
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Right shows a new, bolder red tree White and Red Plum Blossoms
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Vivid colors or ink monchrome on gold background White and Red Plum Blossoms
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Tarashikomi technique: paint applied to a surface that has not already dried from previous application White and Red Plum Blossoms
0%
Artist was a member of a Kyoto family of textile mercahnts that serviced samurai, some nobility, and city dwellers White and Red Plum Blossoms
0%
Work about 5 1/2 foot tall (about the height of an average person) to immerse the audience with the work White and Red Plum Blossoms
0%
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