AP Art History Unit 9 Practice Test & Exam | 20 Questions

1. The megalithic architecture of Nan Madol in Pohnpei is characterized by the use of massive prismatic basalt columns. The scale of this complex and the transport of these materials primarily functioned to demonstrate the

(A)defensive capabilities of the islanders against European explorers.(B)power of the Saudeleur Dynasty to organize and control labor.(C)religious devotion of the common people to the sea gods.(D)technological advancement of the society in metalworking tools.

2. In the Hawaiian 'Ahu 'ula (feather cape), the choice of red and yellow feathers was determined by the belief that these materials

(A)provided camouflage during warfare in the dense tropical forests.(B)were durable enough to act as physical armor against spear thrusts.(C)possessed mana and connected the wearer to the divine.(D)symbolized the trade relationships established with European merchants.

3. The intended function of the Malagan display in New Ireland culture is best described as a temporary ritual event that

(A)permanently houses the spirits of ancestors in durable stone monuments.(B)facilitates the transition of the soul and the transfer of social rights before the objects are discarded or sold.(C)serves as a fixed navigational marker for sailors traveling between islands.(D)marks the coronation of a new king through the preservation of royal regalia.

Refer to the figure below.

4. The Cook Islands *Staff God* features a central wooden shaft wrapped in layers of barkcloth (tapa). This specific use of fiber materials is intended to

(A)protect and contain the deity's mana (spiritual power) within the object.(B)serve as a form of currency in trade exchanges with neighboring islands.(C)provide a soft surface for the carving of additional ancestral figures.(D)hide the poor quality of the wood used for the central carving.

5. The *Buk* (mask) from the Torres Strait demonstrates the importance of trade networks in the region through its incorporation of

(A)imported European glass beads.(B)precious turtle shell.(C)woven silk from Southeast Asia.(D)gold leaf applied to the surface.

Refer to the figure below.

6. Navigation charts from the Marshall Islands, constructed from sticks and cowrie shells, differ from Western maps because they

(A)depict the disruption of ocean swells by landmasses rather than the geography of the islands themselves.(B)are used exclusively by priests to predict weather patterns rather than for travel.(C)are created using a loom weaving technique similar to textile production.(D)rely on the position of the stars exclusively, ignoring ocean currents.

7. The Niuean *Hiapo* (tapa cloth) from the late 19th century is distinguished from earlier Polynesian barkcloth traditions by its inclusion of

(A)stenciled geometric patterns exclusively.(B)freehand drawings of plants, humans, and text.(C)imported wool fibers woven into the bark.(D)religious iconography restricted to the priesthood.

Refer to the figure below.

8. The object shown (Navigation Chart from the Marshall Islands) differs from Western maps primarily because it:

(A)Was intended to be taken on voyages to guide the canoe in real-time.(B)Depicts the location of constellations rather than terrestrial landmarks.(C)Serves as a mnemonic device to memorize wave patterns and currents prior to a voyage.(D)Is a literal representation of the distances between islands using a consistent scale.

9. In the creation of the Hawaiian 'Ahu 'ula (feather cape), the selection of red and yellow feathers was primarily intended to:

(A)Camouflage the wearer during forest warfare.(B)Protect the wearer's mana (vital force) and signify high social status.(C)Symbolize the agricultural fertility of the island's lowlands.(D)Mimic the appearance of European velvet garments observed during trade.

10. The specific function of Malagan masks and sculptures from New Ireland is best described by which of the following practices?

(A)They are preserved in community shrines for generations to allow for continuous worship of ancestors.(B)They are created for a single cycle of funerary rituals and are traditionally destroyed or allowed to rot afterwards.(C)They are worn by women during harvest festivals to ensure the fertility of the yam crop.(D)They serve as permanent boundary markers between rival clan territories.

Refer to the figure below.

11. The portrait of Tamati Waka Nene by Gottfried Lindauer demonstrates the interaction between Pacific and European artistic traditions through the use of:

(A)Indigenous bark cloth (tapa) as the canvas for oil painting.(B)Abstract geometric patterns to represent the sitter's identity without facial features.(C)European academic realism to depict indigenous markers of mana, such as the moko (tattoo) and pounamu earring.(D)Traditional Maori carving techniques applied to a European-style picture frame.

12. The architectural layout of Nan Madol in Micronesia, with its artificial islets separated by canals, served to:

(A)Facilitate the irrigation of taro patches located within the complex.(B)Reinforce social stratification by physically separating the ruling class from the commoners and monitoring potential rivals.(C)Create a defensive fortification against European naval vessels.(D)Align with celestial bodies for the purpose of open-ocean navigation training.

13. Which of the following materials is most characteristic of the Buk masks from the Torres Strait, distinguishing them from other Pacific mask traditions?

(A)Carved basalt stone(B)Beaten mulberry bark cloth(C)Stitched turtle shell plates(D)Woven pandanus fibers

14. In the production of bark cloth (tapa), such as the Hiapo from Niue, artistic labor is traditionally divided by gender, where:

(A)Men cultivate the trees, while women perform the beating and decoration of the cloth.(B)Women create the 'soft' arts like textiles, while men create 'hard' arts like wood carving.(C)Men are responsible for the entire process due to the sacred nature of the materials.(D)Women harvest the bark, but only men are permitted to apply the painted designs.

15. The *Malagan* display and mask traditions of New Ireland are characterized by the intricate carving and painting of sculptures that are often destroyed or allowed to rot after the conclusion of the funerary cycle. This practice best supports which of the following interpretations of Pacific art?

(A)The physical object is less significant than the act of creation and the ritual performance associated with it.(B)The scarcity of durable materials in the region necessitated the use of ephemeral wood and vegetable fibers.(C)The destruction of the object is meant to prevent rival clans from copying the specific iconographic designs.(D)The works are intended solely for trade with outsiders and hold no spiritual value for the community.

16. In the creation of the Hawaiian *'Ahu 'ula* (feather cape), the artist chanted specific genealogies and prayers while attaching thousands of feathers to the fiber netting. This process was intended to function in which of the following ways?

(A)To ensure the cape was aesthetically pleasing enough to be sold to European explorers.(B)To imbue the garment with *mana* (spiritual power) that would protect the wearer's vitality.(C)To create a historical record of the island's bird population for future generations.(D)To serve as a mnemonic device for navigation across the Pacific Ocean.

Refer to the figure below.

17. The Marshall Islands navigation chart (*rebbelib*) functions as a compendium of knowledge primarily by representing:

(A)A literal, scale map of the distances between islands using cowrie shells.(B)The constellation patterns used for night navigation, marked by coconut fibers.(C)The conceptual patterns of ocean swells and wave interference caused by landmasses.(D)The genealogical history of the navigator's clan and their migration routes.

Refer to the figure below.

18. The Rarotonga *Staff God* is composed of a wooden shaft wrapped in layers of bark cloth (tapa). Which of the following best explains the relationship between the wrapping and the wood?

(A)The wrapping was a later addition by missionaries intended to hide the explicit carving.(B)The wrapping protects and contains the *manava* (spirit) of the deity, which resides in the staff.(C)The wood serves only as a structural support for the tapa, which is the sole object of worship.(D)The wrapping allows the staff to be easily transported during nomadic migrations.

19. Pacific art objects, such as the *Buk* (mask) from the Torres Strait, are often comprised of composite forms combining human and animal features. Theories regarding these works suggest they function primarily to:

(A)Demonstrate the artist's technical skill in combining disparate materials like turtle shell and wood.(B)Serve as decorative trophies displaying the abundance of local fauna.(C)Evoke memory and connect the community to ancestral beings and totems during ritual performance.(D)Establish a standardized currency system based on the rarity of the animal parts used.

20. In the context of the *Hiapo* (tapa) from Niue, the production of bark cloth is traditionally a gendered activity that reinforces social structures by:

(A)Restricting the creation of high-status art solely to male priests.(B)Delegating the production of soft, textile arts used in exchange and ceremony to women.(C)Requiring mixed-gender teams to produce the cloth to symbolize social harmony.(D)Allowing children to create the cloth as a form of educational play without ritual significance.

AP Art History UNIT 9: The Pacific, 700–1980 CE Practice Exam

Exam Details

A. Multiple-Choice Questions (20 Questions)

AP Art History UNIT 9: The Pacific, 700–1980 CE Practice Exam

Exam Details

A. Multiple-Choice Questions (20 Questions)