Chapter 18
Short Answer
1. What is wabi?
2. How did Japanese literati differ from their Chinese counterparts?
3. What is the tie between ukiyo-e and Buddhism?
4. Briefly discuss the influences Zen Buddhism had on Muromachi art.
5. How did the Meiji period shape Japanese society for the coming twentieth century?
6. Briefly describe the early years after Buddhism was introduced into Japanese society.
7. How did haniwa figures function as grave offerings during the Kofun period?
8. Who was Tori Busshi?
9. What is the Taizokai (Womb World), and how does it reflect Shingon Buddhism?
10. How does the Phoenix Hall in Byodoin resonate Pure Land Buddhism?
Essay
11. Evaluate the innovations in technique and composition found in the Tale of Genji. Consider the Japanese imperial court at this time. What influences can be seen? How did the court influence this work?
12. Compare and contrast the Nara and Heian periods. Include outside influences. How did these influences change Japanese art and society during these periods? Consider the importation of Buddhism as a religion. How did this new philosophy and religion re-shape Japanese esoteric thought and art? Use examples to support your essay.
13. Assess the patronage system in the Early Heian and Kamakura periods. How did these systems shape Japanese art and architecture? Use examples to support your essay.
14. Contrast the Tea Ceremony water jar from the Momoyama Period with the work of Hamada Shoji. How does each reflect its period and particular aesthetic vision? What influences can be seen in each work?
15. Compare the works of Hasegawa Tohaku and Suzuki Harunobu. How does each artist reflect his period? Use examples to support your essay.
16. How does Kano Motonobu mirror the Kano School? How does he synthesize the Chinese elements? Use examples to support your essay.
17. Assess the splash ink style and its implications as an expression of Zen. Consider the Chinese influences as well. Use examples to support your essay.
18. Describe the style and subject matter of ukiyo-e. How does this style reflect its period? Use examples to support your essay.
19. Compare and contrast the Rinpa and Kano Schools. What are the characteristics of each school? How do they describe Japanese visual art? How do they reflect Japanese aesthetics? Use examples to support your essay.
20. Select three works of art. Describe them. How do these works reflect Japanese visual arts? How do they echo Japanese aesthetics? What outside influences, if any, also become important in shaping the works you have selected? How are the selected works innovative?
Multiple Choice
Identify the choice that best completes the statement or answers the question.
21. The Tale of Genji supports the notion of the significant role played by which of the following in developing the painting style as seen in this scroll?
a. / court gentlemenb. / court ladies
c. / Kamakura Shogunate
d. / Chinese Tang painters
22. The Phoenix Hall, Byodoin, with its light exterior pillars, elevated wings, and reflective pond, is a physical metaphor for which of the following?
a. / Buddha's celestial palace in the Pure Landb. / Kamakura imperial power
c. / Fujiwara clan
d. / Buddha's Parinirvana
23. How does the Tale of Genji differ from its Chinese prototypes such as Gu Kaizhi's Admonitions scroll?
a. / It focuses on lessons in exemplary behaviorsb. / It focuses on imperial court etiquette as it relates to the Empress
c. / It focuses on emotionally charged personal relationships
d. / It focuses on diplomatic relations between China and Japan
24. The sculptor who created the Shaka triad for the Horyuji Kondo was ____.
a. / Tori Busshib. / Shunjobo Chogen
c. / Lady Murasaki
d. / Fujiwara Yorimichi
25. In the Tale of Genji, the metaphor, which came to mean fading life and love and the season of autumn, is which of the following?
a. / chrysanthemumsb. / peonies
c. / cherry blossoms
d. / bush-clover
26. Which of the following characteristics describes a Wabi aesthetic?
a. / refined rusticityb. / simple and graceful
c. / elegant and precious
d. / large and refined
27. A broken-ink picture often hovers at the edge of legibility. Which of the following describes this style?
a. / careful application of ink to take on the appearance of ink blotsb. / rapid brush strokes and using the "automatic" painting style
c. / careless brush stroking following the Zen format
d. / rapid brush strokes, sometimes even dripping the ink onto the paper
28. Which of the following Japanese artists went to China and studied with Ming masters?
a. / Kano Motonobub. / Kano Eitoku
c. / Toyo Sesshu
d. / Hasegawa Tohaku
29. Which painting style is characterized by bold outlines and presentation of objects along the vertical plane of the painting surface?
a. / Broken-ink styleb. / Chan style
c. / Kano style
d. / Hideyoshi style
30. Which of the following describes the Japanese tradition of Hokusai's The Great Wave Off Kanagawa?
a. / The wave is more traditionally flat and in the foregroundb. / The background has a low horizon line
c. / The wave is rounded and in the background
d. / The background has no horizon line
31. Which school of painting style featured bright, contrasting color, detailed textile patterns, and thickly applied paint?
a. / Kano Schoolb. / Tosa School
c. / Nihonga School
d. / Yoga School
32. The great strength of Japanese art has been its innovation through which of the following?
a. / experimentationb. / individual effort
c. / adaptation
d. / market forces
33. Which of the following schools combined colorism with Chinese ink-brush outlines in the 16th -century?
a. / the Heian Schoolb. / the Jataka School
c. / the Chan School
d. / the Tosa and Kano Schools
34. How did the Taian teahouse encourage intimacy among the guests and tea host?
a. / The guests were required to come with only selected "good friends"b. / The tea host visited with each and every guest
c. / The seating arrangement encouraged the feeling of intimacy
d. / The room's dimness and tiny size encouraged the feeling of intimacy
35. The counterculture of the Edo Period produced works whose subject matter depicted which of the following?
a. / court lifeb. / Yoshiwara brothels
c. / country life
d. / fishing villages
36. The unglazed ceramic figures placed around the Kofun tumuli are:
a. / haniwab. / guang
c. / sutras
d. / mandara
37. Which of the following was a renowned tea master?
a. / Toyo Sesshub. / Sen No Rikyu
c. / Kano Eitoku
d. / Ogata Korin
38. Painters of the Momoyama Period were asked to create folding screens in ink, color, and gold leaf for ____.
a. / merchantsb. / European collectors
c. / Chinese consulate
d. / warlords
39. Ukiyo-e allowed many print designers to flourish and led to ever greater ____ in printmaking.
a. / refinement and experimentationb. / contrast and color
c. / color and refinement
d. / color and experimentation
40. The art form providing Japanese practitioners the most substantial presence in the world scene today is:
a. / paintingb. / printing
c. / architecture
d. / ceramics
SLIDE IDENTIFICATION: Select the response that best suits the image on the screen.
41. (Figure 18-16)
a. / screenb. / scroll
c. / woodblock
d. / ink on paper
42. (Figure 18-11)
a. / Kano Motonobub. / Tosa Mitsunobu
c. / Hamada Shoji
d. / Sesshu Toyo
43. (Figure 18-15)
a. / Momoyamab. / Muromachi
c. / Edo
d. / Meiji
44. (Figure 18-13)
a. / scrollb. / woodblock
c. / screen
d. / mural
45. (Figure 18-12)
a. / Evening Bell at the Clockb. / Oiran
c. / Zen Patriarch Xiangyen Zhixian Sweeping with a Broom
d. / Kutsugen
46. (Figure 18-14)
a. / Edob. / Muromachi
c. / Meiji
d. / Momoyama
47. (Figure 18-2)
a. / Kofunb. / Momoyama
c. / Meiji
d. / Showa
48. (Figure 18-17)
a. / Katsushika Hokusaib. / Toyo Sesshu
c. / Yosa Buson
d. / Ogata Korin
49. (Figure 18-11)
a. / Edob. / Momoyama
c. / Meiji
d. / Muromachi
50. (Figure 18-9)
a. / Kamakurab. / Nara
c. / Early Heian
d. / Asuka
51. (Figure 18-4)
a. / Shunjobo Chogenb. / Standing Yakushi
c. / Tori Busshi
d. / Amida Buddha
52. (Figure 18-8)
a. / Legends of Mount Shigib. / Taizokai (Womb World)
c. / Tale of Genji
d. / Evening Bell at the Clock from Eight Views of the Parlor
53. (Figure 18-4)
a. / Amida Triadb. / Shaka Triad
c. / Genji Triad
d. / Yakushi Triad
54. (Figure 18-5)
a. / Jomonb. / Asuka
c. / Kamakura
d. / Nara
55. (Figure 18-10)
a. / Late Heianb. / Early Nara
c. / Kamakura
d. / Edo