1. (03.01 LC)
Dome of the Rock.
Jerusalem, Palestine. Islamic, Umayyad. 691-692 C.E., with multiple renovations. Stone masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt aluminum and bronze dome.
© De Agostini Editorie / G. Dagli Orti/ Universal Images Group / ImageQuest 2014
The Dome of the Rock, in its location and rich ornamentation, reflects which of the following? (3 points)
? Co-opting religious sites to demonstrate power
? Development of strong central government
? Reliance on factional power centers
? Respect for cultural exchange
2. (03.02 MC)
Jahangir Preferring a Sufi Shaikh to Kings.
Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper.
Public Domain
The allegorical style of Jahangir Preferring a Sufi Shaikh to Kings reflects a blend of which cultural influences? (3 points)
? European and Byzantine
? Islamic and Hindu
? Mughul and Indian
? Persian and Turkish
3. (03.02 MC)
Basin (Baptistère de St. Louis).
Muhammad ibn al-Zain. c. 1320-1340 C.E. Brass inlaid with gold and silver.
© Captainm 2014, CC by SA 3.0.
The combination of vegetal and figural forms in the Basin (Baptistère de St. Louis) reflects the Islamic connection between (3 points)
? religious and secular law
? various factions of Islam
? secular and religious icons
? sectarian rifts and history
4. (03.04 MC)
Gold and jade crown.
Three Kingdoms Period, Silla Kingdom, Korea. Fifth to 6th century C.E. Metalwork.
© Caspian blue 2014, CC by SA 2.0.
The symbolic representation of life and power evident in the Gold and jade crown reflects which of the following? (3 points)
? Influences from both Hindu and Tibetan Buddhism
? Both Islamic and Christian influences
? The influence of Chinese Buddhism
? The influence of Indonesian cultures
5. (03.04 MC)
Left: Front view. Great Stupa at Sanchi.
Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300 B.C.E.-100 C.E. Stone masonry, sandstone on dome.
© John Henry Claude Wilson / Robert Harding World Imagery / Universal Images Group / ImageQuest 2014
Right: Great Stupa plan and elevation.
Public Domain
Characteristic of Islamic mosques, the Great Stupa at Sanchi supports religious transformation through which of the following? (3 points)
? Adaptation of Christian iconography
? Inclusion of figural art
? Transition from secular to religious spaces
? Emphasis on secular decorative arts
6. (03.01 MC)
Left: Great Mosque (Masjid-e Jameh) Isfahan, Iran.
© Marmoulak 2014, CC by 2.0
Right: Islamic mosque plan.
1. Qibla wall | 2. Mihrab | 3. Hypostyle prayer hall | 4. Prayer hall | 5. Minaret
Public Domain
The function of the mihrab is most likely to support which of the following? (3 points)
? Hajj
? Salat
? Sawm
? Shabadah
7. (03.01 MC)
Left: The Kaaba.
Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631-632 C.E.; multiple renovations. Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread.
© Rulhan Arikan / Photo Researchers / Universal Images Group / ImageQuest 2014
Right: Jowo Rinpoche, enshrined in the Jokhang Temple.
Lhasa, Tibet. Yarlung Dynasty. Believed to have been brought to Tibet in 641 C.E. Gilt metals with semiprecious stones, pearls, and paint; various offerings.
Antoinetav 2014, CC by SA 3.0
The Kaaba and the Jowo Rinpoche use gilding and elaborate ornamentation to support their cultural role as (3 points)
? conduits to religious unity
? connections to ancestral deities
? administrative and political centers
? deification of political leaders
8. (03.04 MC)
Left: Todai-ji.
Nara, Japan.
© 663highland 2014, CC by 2.5.
Right: Great Buddha. Todai-ji.
© hokkaido+ / Datacraft Co., Ltd / Universal Images Group / ImageQuest 2014
The association of imperial power with religious figural art, evident at Todai-ji, reflects which of the following? (3 points)
? A blend of Shinto and ancient Chinese cultures
? A combination of Hindu and Tibetan influences
? Both Buddhist and Islamic focus on figural pieces
? Influence of Islamic ideas via the Silk Route
9. (03.02 MC)
Folio from a Qur’an.
Arab, North Africa, or Near East. Abbasid. c. Eighth to 9th century C.E. Ink, color, and gold on parchment.
Public Domain.
Use of calligraphy and illumination in Folio from a Qur’an supports its role in (3 points)
? religious revelation
? civil pacification
? political and cultural unity
? deification of political leaders
10. (03.02 MC)
Jahangir Preferring a Sufi Shaikh to Kings.
Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper.
Public Domain
The combination of figural forms and narrative elements in Jahangir Preferring a Sufi Shaikh to Kings dictates the function as (3 points)
? highly religious decoration
? illustrative of holy texts
? reinforcing Islamic political power
? secular Islamic art
11. (03.02, 03.04 LC)
Left: Basin (Baptistère de St. Louis).
Muhammad ibn al-Zain. c. 1320-1340 C.E. Brass inlaid with gold and silver.
© Captainm 2014, CC by SA 3.0.
Right: Great Buddha. Todai-ji.
© hokkaido+ / Datacraft Co., Ltd / Universal Images Group / ImageQuest 2014
Both the Basin (Baptistère de St. Louis) and the Great Buddha of Todai-ji reflect the cultural importance of (3 points)
? consolidation of political power
? combined political and religious ritual
? religious practices and iconography
? the journey toward enlightenment
12. (03.02, 03.01 LC)
Left: The Ardabil Carpet.
Maqsud of Kashan. 1539-1540 C.E. Silk and wool.
Public Domain
Right: The Kaaba.
Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631-632 C.E.; multiple renovations. Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread.
© Rulhan Arikan / Photo Researchers / Universal Images Group / ImageQuest 2014
The use of geometric shapes and vegetal forms in both The Ardabil Carpet and the curtain of The Kaaba support their cultural purpose to (3 points)
? inspire fear and submission
? record historical events
? reinforce religious practice
? reinforce power structures
13. (03.02 MC)
Jahangir Preferring a Sufi Shaikh to Kings.
Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper.
Public Domain
The ornate vegetal forms and two-dimensional figural representations in Jahangir Preferring Sufi Shaikh to Kings are associated with which of the following? (3 points)
? Asian influence
? Byzantine influence
? Persian influence
? Turkish influence
14. (03.01 MC)
Great Mosque (Masjid-e Jameh).
Isfahan, Iran. Islamic, Persian: Seljuk, Il-Khanid, Timurid and Safavid Dynasties. c. 700 C.E.; additions and restorations in the 14th, 18th, and 20th centuries C.E. Stone, brick, wood, plaster, and glazed ceramic tile.
© Fulvio Spada 2014, CC by SA 3.0
The combination of white on blue mosaic tile in Great Mosque (Masjid-e Jameh) supports its representation of (3 points)
? a blend of secular and religious iconography
? a connection between believers and heaven
? a reminder of the importance of holy scripture
? a symbol of political association with religion
15. (03.02 MC)
Jahangir Preferring a Sufi Shaikh to Kings.
Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper.
Public Domain
Jahangir Preferring Sufi Shaikh to Kings reflects which of the following? (3 points)
? The Sufi emphasis on rationalism
? The Sikh emphasis on mysticism
? The Hindu emphasis on social hierarchy
? The Islamic emphasis on divine right
16. (03.01, 03.02, 03.04 LC)
Left: The Kaaba.
Mecca, Saudi Arabia. Islamic. Pre-Islamic monument; rededicated by Muhammad in 631-632 C.E.; multiple renovations. Granite masonry, covered with silk curtain and calligraphy in gold and silver-wrapped thread.
© Rulhan Arikan / Photo Researchers / Universal Images Group / ImageQuest 2014
Right: Basin (Baptistère de St. Louis).
Muhammad ibn al-Zain. c. 1320-1340 C.E. Brass inlaid with gold and silver.
© Captainm 2014, CC by SA 3.0.
Both the Basin (Baptistère de St. Louis) and The Kaaba reflect a cultural importance of (3 points)
? sacred journey
? blended ritual practices
? political unity
? national pride
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