CHAPTER 34—JAPAN, 1336 TO 1980
MULTIPLE CHOICE
1. After the overthrow of the Tokugawa, a new period ensued, called the Meiji that translates to ____.
a.
Divine Rule
b.
Blessed Rule
c.
Holy Rule
d.
Enlightened Rule
2. What did Tokugawa Ieyasu revive after he consolidated power?
a.
the Imperial Court
b.
the title of Shogun
c.
trade with the United States
d.
relations with the Portuguese
3. Which of the following characteristics describes a Wabi aesthetic?
a.
refined rusticity
b.
simple and graceful
c.
elegant and precious
d.
large and refined
4. After years of upheaval between the imperial family and the clans, Ashikaga Takauji managed to come
to power. Which of the following would account for this?
a.
sought an alliance with the Portuguese for weapons
b.
assassinated the Emperor
c.
married his daughter to the Crown Prince
d.
accrued sufficient power to establish domination of his clan
5. Zen emphasized rigorous discipline and personal responsibility. Which of the following groups
showed a greater affinity for Zen teachings?
a.
upper echelons of the imperial court
b.
upper echelons of the warrior class
c.
middle class merchants
d.
sea-faring traders
6. What is the Chinese term for Zen?
a.
Zhuan
b.
Zhao
c.
Chan
d.
Hoitsu
7. During the Muromachi period superior knowledge and refinement legitimized the elevated status of
the warrior elite. Which of the following would support this elevation?
a.
familiarity with Chinese Zen culture
b.
familial relationship with the Muromachi
c.
status within the Imperial Court
d.
successful participation in Court “war games”
8. During the Muromachi period, which of the following made up the traditional religious elements that
were already present in the Saihoji Temple gardens?
a.
Shinto shrine
b.
Indian stupa
c.
Pure Land elements
d.
Christian elements
9. A broken-ink picture often hovers at the edge of legibility. Which of the following describes this style?
a.
rapid brush strokes, sometimes even dripping the ink onto the paper
b.
rapid brush strokes and using the “automatic” painting style
c.
careless brush stroking following the Zen format
d.
allowing the Zen spirit to dictate the brush strokes
10. Which of the following artists went to China and studied with Ming masters?
a.
Kano Motonobu
b.
Kano Eitoku
c.
Toyo Sesshu
d.
Hasegawa Tohaku
11. Which painting style is characterized by bold outlines and presentation of objects along the vertical
plane of the painting surface?
a.
Broken-ink style
b.
Chan style
c.
Kano style
d.
Hideyoshi style
12. During the Momoyama period the tea ceremony became a very important tool to express humility.
How did this expression of humility affect the design of the teahouse?
a.
The interior space was elegant and fitted with silk pillows.
b.
The interior space was dim and tiny.
c.
The interior space was designed after the Ise Shrine.
d.
The interior space was roofless and open to the elements.
13. Describe the aesthetic principles that were developed around the late 15th century and grew to have
importance on the tradition of the tea ceremony and the utensils used.
a.
Sabi, value found in the old and weathered and wabi, value found in refined simplicity
b.
Ming, value found in the technically brilliant, importance of gold
c.
Song, value found in complex design, importance of multiplicity
d.
Chan, value found in rich design, importance of the gleaming
14. The Katsura Imperial Villa in Kyoto was constructed during the height of the popularity of the tea
ceremony. Which of the following describes the Katsura Imperial Villa?
a.
rich and complex with elements from the Tang Dynasty
b.
lush and opulent with elements from the Unified Silla Kingdom of Korea
c.
tastefully subtle with elements of courtly gracefulness
d.
poor and meager with elements of Zen
15. Which of the following describes one of the most important features of the Katsura Imperial Villa and
why?
a.
All the windows open to the outside in order to achieve the harmonious integration of
building and garden.
b.
The doors can open to the outside in order to achieve the harmonious integration of
building and garden.
c.
All the rooms are small and rectangular in order to achieve a harmonious integration.
d.
The inner courtyard provides access to the garden views in order to achieve harmonious
integration of building and garden.
16. Hokusai’s The Great Wave Off Kanagawa combines Western and Japanese traditions. Which of the
following describes the Japanese tradition?
a.
The wave is more traditionally flat and in the foreground.
b.
The background has a low horizon line.
c.
The wave is rounded and in the background.
d.
The background has no horizon line.
17. Starting around the late 15th century, the Chinese objects associated with the tea ceremony utensils
were being replaced with which of the following?
a.
Vietnamese ceramics
b.
Yuan ceramics
c.
Korean ceramics
d.
Siberian ceramics
18. The Saihoji temple gardens show the continuities and changes in the religious art of the Muromachi
period, which combines Pure Land Buddhist and Zen Buddhist traditions. Which of the following
describes a characteristic trait of Zen Buddhism?
a.
provided a promise of salvation
b.
emphasized rigorous discipline and personal responsibility
c.
provided a promise of redemption
d.
promoted life experiences through the active engagement within the community
19. Dry landscape or rock gardens became very popular in Japan during which of the following periods?
a.
Momoyama
b.
Nara
c.
Edo
d.
Muromachi
20. Which school of painting style featured bright, contrasting color, detailed textile patterns, and thickly
applied paint?
a.
Kano School
b.
Tosa School
c.
Nihonga School
d.
Yoga School
21. The great strength of Japanese art has been its innovation through which of the following?
a.
experimentation
b.
individual effort
c.
adaptation
d.
market forces
22. Which of the following schools combined colorism with Chinese ink brush outlines in the
sixteenth-century?
a.
the Heian School
b.
the Jataka School
c.
the Tosa and Kano Schools
d.
the Edo School
23. Who promoted an ideal of beauty in functional objects made of natural materials?
a.
Yanagi Soetsu
b.
Ogata Korin
c.
Yokoyama
d.
Kano Eitoku
24. Which of the following was a renowned tea master who came from a wealthy merchant background?
a.
Toyo Sesshu
b.
Sen No Rikyu
c.
Kano Eitoku
d.
Ogata Korin
25. Kano painters of the Momoyama Period were asked to create folding screens in ink, color, and gold
leaf for which of the following?
a.
warlords
b.
Jesuits
c.
European collectors
d.
Chinese consulate
26. What became a major genre in Japan in the late 19th century?
a.
oil painting
b.
pastels
c.
ink screens
d.
portrait sculpture
27. Which style of painting incorporates some Western techniques such as chiaroscuro, perspective, and
bright hues in basically Japanese-style paintings?
a.
yoga
b.
nanga
c.
nihonga
d.
chan
28. Tokugawa rulers banned Christianity and all Westerners except which of the following?
a.
Dutch
b.
Germans
c.
British
d.
Americans
29. Nishiki-e or brocade pictures were highly valued because of their sumptuous and brilliant colors as
well as being printed on best-quality paper. During which of the following periods were such works
created?
a.
Showa
b.
Muromachi
c.
Edo
d.
Momoyama
30. Shino ware can be typically described by which of the following?
a.
elaborate forms and smooth surface
b.
simple forms and elaborate surface
c.
elaborate forms and rough surface
d.
simple forms and rough surface
31. What was the favorite exercise of cultivation and refinement in the Momoyama period?
a.
flower arranging
b.
bird watching
c.
tea ceremony
d.
working on dry landscape
32. 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.
33. The counterculture of the Edo Period produced works whose subject matter depicted which of the
following?
a.
court life
b.
Yoshiwara brothels
c.
country life
d.
fishing villages
34. Civil war disrupted Japan starting in which of the following centuries?
a.
late 14th century
b.
late 15th century
c.
late 17th century
d.
late 18th century
35. Ogata Korin was primarily a painter, but he also designed which of the following?
a.
lacquers
b.
portrait sculpture
c.
dry gardens
d.
country villas
36. Which of the following describes the function of the tatami?
a.
inner courtyard of country villas
b.
special sliding door to exit house interior into the garden
c.
allows the interiors rooms to be widened
d.
accommodates the custom of not wearing shoes indoors
37. Kano Motonobu was largely responsible for establishing the Kano style and was very likely the
son-in-law of whom?
a.
Toyo Sesshu
b.
HasegawaTohaku
c.
Tosa Mitsunobu
d.
Kano Eitoku
38. An alcove used to display prized objects or hang scrolls of painting or calligraphy is called which of
the following?
a.
tokonoma
b.
tatami
c.
nando
d.
engawa
39. Which school did not have the continuity of lineage: father training son or master and pupil?
a.
Kano School
b.
Rimpa School
c.
Tosa School
d.
Hokusai School
40. During the Muromachi Period which of the following religions flourished alongside the older Buddhist
sects?
a.
Christianity
b.
Theravada Buddhism
c.
Zen
d.
New World Shinto
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
41. (Figure 34-18)
a.
Momoyama
b.
Edo
c.
Meiji
d.
Post-Modern (Contemporary)
42. (Figure 34-5)
a.
pastel
b.
scroll
c.
oil on canvas
d.
screen
43. (Figure 34-6)
a.
Shino ware
b.
Oribe ware
c.
celadon
d.
Nabeshima ware
44. (Figure 34-13)
a.
screen
b.
scroll
c.
woodblock
d.
ink
45. (Figure 34-3)
a.
Kano Motonobu
b.
Tosa Mitsunobu
c.
Toyo Sesshu
d.
Ogata Korin
46. (Figure 34-16)
a.
Momoyama
b.
Muromachi
c.
Edo
d.
Meiji
47. (Figure 34-18)
a.
Le Corbusier
b.
Frank Lloyd Wright
c.
Kenzo Tange
d.
I. M. Pei
48. (Figure 34-16)
a.
Hama Shoji
b.
Ogata Korin
c.
Kano Eitoku
d.
Hasegawa Tohaku
49. (Figure 34-12)
a.
scroll
b.
woodblock
c.
screen
d.
mural
50. (Figure 34-10)
a.
lacquer
b.
woodblock
c.
stoneware
d.
ivory
51. (Figure 34-2)
a.
Edo
b.
Muromachi
c.
Momoyama
d.
Meiji
52. (Figure 34-4)
a.
Evening Bell at the Clock
b.
Oiran
c.
Zen Patriarch Xiangyen Zhixian Sweeping with a Broom
d.
Kutsugen
53. (Figure 34-8)
a.
Edo
b.
Muromachi
c.
Meiji
d.
Momoyama
54. (Figure 34-9)
a.
Katsura Villa
b.
Saihoji Temple
c.
Kyoto Palace
d.
Myokian Temple
55. (Figure 34-7)
a.
Momoyama
b.
Edo
c.
Meiji
d.
Showa
56. (Figure 34-13)
a.
Katsushika Hokusai
b.
Toyo Sesshu
c.
Yosa Buson
d.
Ogata Korin
57. (Figure 34-10)
a.
Honami Koetsu
b.
Ogata Korin
c.
Toyo Sesshu
d.
Kano Eitoku
58. (Figure 34-5)
a.
Kano Eitoku
b.
Ogata Korin
c.
Hasegawa Tohaku
d.
Honami Koetsu
59. (Figure 34-14)
a.
Momoyama
b.
Meiji
c.
Edo
d.
Muromachi
60. (Figure 34-3)
a.
Edo
b.
Momoyama
c.
Meiji
d.
Muromachi
61. (Figure 34-1)
a.
engraving
b.
woodblock
c.
etching
d.
watercolor
62. (Figure 34-9A)
a.
Sotatsu
b.
Momoyama
c.
Utamaro
d.
Hiroshige
63. (Figure 34-2A)
a.
temple
b.
rock garden
c.
sculpture garden
d.
beach house
64. (Figure 34-4A)
a.
Momoyama
b.
Edo
c.
Meiji
d.
Muromachi
65. (Figure 34-12A)
a.
Katsushika Hokusai
b.
Toyo Sesshu
c.
Kitagawa Utamaro
d.
Ogata Korin
SHORT ANSWER
1. What is wabi?
2. Describe the emergence of the Rimpa School in the Edo Period.
3. How did the Muromachi shogunate function?
4. What was the aesthetic purpose of the dramatic natural scenery of the lower gardens of Saihoji?
5. How does the Katsura Imperial Villa reflect the imperial family?
6. How did Japanese literati differ from their Chinese counterparts?
7. How does the work, Oiran (Grand Courtesan) differ from traditional ukiyo-e works?
8. How does the architecture of Kenzo Tange meet late 20th century aesthetics of post-modern
architecture?
9. What is the link between ukiyo-e and Buddhism?
10. Who was Ernest Fenollosa?
11. Briefly describe the function of a Zen temple.
12. Discuss the influences Zen Buddhism had on Muromachi art?
13. How is the label the “Age of Wars” significant?
14. How did the Meiji period shape Japanese society for the coming 20th century?
15. Briefly describe Japan in the 20th century.
16. What are “dry landscapes,” and what was their purpose?
17. What was the attraction of Zen for the samurai?
18. How did the Momoyama period shape Japanese history?
19. How did the architecture of the Momoyama period reflect the period?
20. How does Shinto belief reflect the work of Tsuchiya Kimio?
ESSAY
1. 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?
2. Compare the works of Hasegawa Tohaku and Kano Eitoku. How does each artist reflect his period?
Use examples to support your essay.
3. How does Kano Motonobu mirror the Kano School? How does he synthesize the Chinese elements?
Use examples to support your essay.
4. Describe the splash ink style and its implications as an expression of Zen. Consider the Chinese
influences as well. Use examples to support your essay.
5. Contrast the Tosa and Kano Schools. What are their origins and influences? How did these two
schools impact Japanese visual arts? Use examples to support your essay.
6. Describe the Edo Period Katsura Imperial Villa as a model and exemplar of imperial court aesthetics.
7. Explain the effect the Tea Ceremony had on Japanese visual arts. Use examples to support your essay.
8. Explain the influence of Zen on the arts of Japan. Use examples to support your essay.
9. Describe the style and subject matter of ukiyo-e. How does this style reflect its period? Use examples
to support your essay.
10. Discuss the implications of the “westernization” of Japan in the late 19th century. Consider the social
and political implications as well. How did this westernization affect Japanese art during this period?
Use examples to support your essay.
OTHER
SLIDE QUESTIONS
1. What series does this belong to and what is represented?
2. How did this print inspire Vincent Van Gogh?
3. What information does this convey about the warlords of the period?
4. How does this work reflect the Kano School?
5. What is this, and what did the designers suggest?
6. Describe the style of the Katsura Villa.
7. How does this work reflect Western influences and blend them into a unique Japanese style?
8. How did Japanese performance artists incorporate action painting into their performances?
9. Identify the style of this ceramic jar.
10. What is this and what type of space does it evoke?
11. How does this work evoke mood?
12. How does this work reflect Rimpa School style?
13. How does this painting reflect the literati style?