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CHAPTER TWENTY-FIVE
CHINESE AND KOREAN ART AFTER 1279
25
Multiple Choice
1. What does a treasured scroll often bear that not only identifies its maker but also collectors
and admirers of that scroll throughout the centuries?
A. fingerprints
B. seals
C. colophons
D. symbolism
2. During the 1980s, who emerged as a leader in Chinese painting for his synthesis of Chinese
and Western ideas and techniques?
A. Yin Hong
B. Shitao
C. Wu Guanzhong
D. Wen Hong
3. With the fall of the north to invaders in 1126, which court set up a new capital in the south that
became the cultural and economic center of the country?
A. Song
B. Tang
C. Shang
D. Zhou
4. Which of the following was a preeminent professional painter in the Ming period who
produced the influential handscroll Spring Dawn in the Han Palace (Fig. 25-7)?
A. Guan Zhou
B. Zhao Mengfu
C. Dai Jin
D. Qiu Ying
5. Which individualist from the Qing period painted Reminiscences of Qinhuai River?
A. Shitao
B. Guang Zhou
C. Wang Hui
D. Qiu Ying
6. The earliest extant and dated Joseon secular painting is
A. Dream Journey to the Peach Blossom Land (Fig. 25-19).
B. Returning Home Late from a Spring Outing (Fig. 25-6).
C. A Thousand Peaks and Myriad Ravines (Fig. 25-1).
D. The Qingbian Mountains (Fig. 25-12).
7. The Garden of the Cessation of Official Life (Fig. 25-11) was designed to
A. encourage leisure and foster the owner’s scholarly pursuits.
B. reflect Confucian beliefs about the individual’s role in society.
C. show an ideal plan for balance and harmony in the universe.
D. recall the owner’s successful career as a government official.
8. Dong Qichang based his ideas about China’s Northern and Southern schools of painting on
A. regional centers of artistic production.
B. parallels he saw in Buddhist practice.
C. traditions associated with the Song dynasty.
D. political divisions of the Yuan dynasty.
9. What was Zhao Mengfu reacting to or interpreting in the iconography of Sheep and Goat (Fig.
25-2)?
A. court paintings
B. animal interactions
C. Buddhist scripture
D. foreign rulers
10. During the Ming dynasty, emphasis on painting’s expressive nature brought it closer to what
other Chinese art form?
A. porcelain production
B. calligraphy
C. landscape design
D. poetry
11. The symbolism of Yun Shouping’s Amaranth (Fig. 25-13) shows homages to court officials
from what tradition?
A. Yuan
B. Shang
C. Qing
D. Tang
12. How does Poet on a Mountaintop (Fig. 25-9) represent the essence of Ming literati painting?
A. the loose rendering of a mountain landscape
B. the harmonious blending of mind and nature
C. the emphasis on the solitary man
D. the use of calligraphy
13. Literati painting was an established academic style practiced at court during which period of
Chinese history?
A. Yuan
B. Ming
C. Qing
D. Song
14. What feature distinguishes Korean porcelains from those of the Ming dynasty in China?
A. asymmetrical designs
B. underglazing
C. natural subjects
D. irregular shapes
15. Who was the primary audience of literati paintings?
A. patrons from court
B. lower government officials
C. close friends and scholars
D. private collectors
16. What was often part of a handscroll and could consist of inscriptions related to the work,
such as a poem or comments by various owners of the scroll over time?
A. index
B. antiphon
C. forward
D. colophon
17. Which colors are particularly noteworthy among Ming porcelain wares, such as the fifteenth-
century flask with dragons (Fig. 25-4)?
A. red and white
B. blue and white
C. grey and white
D. green and-white
18. What makes the Korean buncheong ware resemble more expensive white porcelain?
A. crackle glaze
B. brown slip
C. white slip
D. red slip
19. Characteristically, Chinese furniture is constructed without the use of glue or nails, relying
instead on the principle of
A. twisted assembly.
B. the bent connection.
C. the mortise-and-tenon joint.
D. cement joining.
20. Which work reflects the study of Western modernism, as well as Eastern roots?
A. Roof Tiling (Fig. 25-21)
B. Reminiscences of Qinhuai River (Fig. 25-15)
C. Dream Journey to the Peach Blossom Land (Fig. 25-19)
D. Universe 5-IV-71 #200 (Fig. 25-22)
21. Which kilns were destroyed by invading Japanese armies in the last decade of the sixteenth
century and brought the ware’s production to a halt?
A. barbarian
B. kaolin
C. buncheong
D. literati
22. The symmetrical layout of the Forbidden City intentionally emphasizes the emperor’s role as
A. the Son of the Seas.
B. the greatest Ruler.
C. the Son of Heaven.
D. the Son of Buddha.
23. The Forbidden City was built for the most part by rulers from which dynasty?
A. Qing
B. Ming
C. Joseon
D. Yuan
24. Dong Qichang created his Qingbian Mountains (Fig. 25-12) in what standard format of
Chinese painting?
A. hanging scroll
B. handscroll
C. album leaf
D. plate scroll
25. Artist Zhao Mengfu, a descendant of the imperial line of Song who chose to serve the Yuan
government, was well known for his finely rendered paintings of which animal?
A. birds
B. horses
C. turtles
D. cats
1. Explain the dry brush technique. Identify an artist and a work associated with this technique.
2. Who were the painters known as the individualists?
3. What is the derivation of the word porcelain, and how was it made?
4. Explain the significance of the dragon in Chinese tradition. Cite a specific example of its
representation in the arts.
5. Explain the silhak movement. What is the meaning of the word silhak?
6. How does Whanki Kim exemplify Western and Eastern ideals?
7. After the Mongol invasions, how did China view itself in relation to the rest of the world?
8. What is the Forbidden City (Fig. 25-8)? Who built it? Consider its origins, its design, and its
symbolism.
82.
9. Who was Dong Qichang? Address his achievements.
10. How did conditions in Korea from the late nineteenth century into the twentieth century
affect its artistic development?
Essay
1. Discuss the rise of literati painting in Chinese art history, and describe the literati influence on
furniture, architecture, and garden design. Cite examples and discuss their characteristics.
2. Compare the production of ceramics in China and in Korea. Consider the relationship of the
two cultures and how each developed distinctive stylistic traditions in these works.
3. Compare and contrast A Thousand Peaks and Myriad Ravines (Fig. 25-1) and The Qingbian
Mountains (Fig. 25-12) in terms of style, form, and content.
4. How does Wu Guanzhong’s Pine Spirit (Fig. 25-16) combine Western and Chinese
influences?
5. Discuss the formats of Chinese painting.
