AP Art History EXAM QUESTIONS
WITH CORRECT
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Wall plaque, from Oba's palace
Edo peoples, Benin (Nigeria). 16th century C.E. Cast brass
It was the first of three exceptional masterpieces from the Kingdom of Benin
acquired under Goldwater's guidance that dramatically transformed the collection.
- ANSWER ✓
Sika dwa kofi (Golden Stool)
Ashanti peoples (south central Ghana). c. 1700 C.E. Gold over wood and cast-gold
attachments
The Golden Stool has been such a part of their culture for so long, with so much
mythology around it, that we can't be sure exactly when it was made. The color to
represent royalty changes between times and cultures. Many of the brighter colors
simply weren't available throughout Africa until Europe began to colonize -
ANSWER ✓
Ndop (portrait figure) of King Mishe miShyaang maMbul
Kuba peoples (Democratic Republic of the Congo). c. 1760-1780 C.E. Wood
The ndop of Mishe miShyaang maMbul is part of a larger genre of figurative wood
sculpture in Kuba art. These sculptures were commissioned by Kuba leaders or
nyim to preserve their accomplishments for posterity. Because transmission of
knowledge in this part of Africa is through oral narrative, names and histories of
the past are often lost. The ndop sculptures serve as important markers of cultural
ideals. They also reveal a chronological lineage through their visual signifiers. -
ANSWER ✓
Power figure (Nkisi n'kondi)
,Kongo people's (Democratic Republic of Congo). c. late 19th century C.E. Wood
and metal
Nkisi nkondi figures are highly recognizable through an accumulation pegs,
blades, nails or other sharp objects inserted into its surface. - ANSWER ✓
Female (Pwo) mask
Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th
century C.E. Wood, fiber, pigment, and metal
Chokwe masks are often performed at the celebrations that mark the completion of
initiation into adulthood. That occasion also marks the dissolution of the bonds of
intimacy between mothers and their sons. The pride and sorrow that event
represents for Chokwe women is alluded to by the tear motif. - ANSWER ✓
Portrait mask (Mblo)
Baule peoples ( Côte d'Ivoire). Early 20th century C.E. Wood and pigment
The mask is exceptional for its nuanced individuality, highly refined details,
powerful presence, and considerable age. It is especially appealing for its unusual
depth that affords strong three-quarter views. The broad forehead and downcast
eyes are classic features associated with intellect and respect in Baule aesthetics.
The departure from a rigidly symmetrical representation suggests an individual
physiognomy. The expression is one of intense introspection. Its serenity is subtly
animated by two opposing formal elements: the flourishes of the coiffure and beard
at the summit and base. - ANSWER ✓
Bundu mask
Sande Society, Mende peoples (West African forests of Sierra Leone and (Liberia).
19th to 20th century C.E. Wood, cloth, and fiber
The masks are worn by women who have a certain standing within the society, to
receive the younger women at the end of their three month's reclusion in the forest.
The different elements that compose the masks of this type, the half-closed and
lengthened eyes, the delicate contours of the lips, the slim nose, the serenity of the
forehead, the complexity of the headdress and the presence of neck and nape refer
not only to aesthetic values, but also to philosophical and religious concepts. -
ANSWER ✓
Ikenga (shrine figure)
Igbo peoples (Nigeria).c. 19th to 20th century C.E. Wood
The shrine reflects the great value the Igbo place on individual achievement.
Personal shrines are created in the form of figures known as ikenga to honor the
,power and skills of a person's right hand, as the right hand holds the hoe, the
sword, and the tools of craftsmanship. The basic form of an ikenga is a human
figure with horns symbolizing power, sometimes reduced to only a head with horns
on a base. - ANSWER ✓
Lukasa (memory board)
Mbudye Society, Luba peoples (Democratic Rpublic of the Congo). c. 19th to 20th
century C.E. Wood, beads, and metal
More detailed information is conveyed on the front and back of the board. On the
lukasa's "inside" surface (the front), human faces represent chiefs, historical
figures, and mbudye members. The rectangular, circular, and ovoid elements
denote organizing features within the chief's compound and the association's
meeting house and grounds. Its "outside" surface displays incised chevrons and
diamonds representing the markings on a turtle's carapace. - ANSWER ✓
Aka elephant mask
Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E.
Wood, woven raffia, cloth, and beads
The elite Kuosi masking society controls the right to own and wear elephant
masks, since both elephants and beadwork are symbols of political power in the
kingdoms of the Cameroon grasslands. Masked performances have a variety of
purposes. Both of the masks displayed here were performed to support political
authority, but in different contexts. The mask may have exerted the will of village
elders by imposing economic prohibitions or organizing hunting parties to provide
for and protect the village. - ANSWER ✓
Reliquary figure (byeri)
Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood
The Fang figure, a masterpiece by a known artist or workshop, has primarily been
reduced to a series of basic shapes—cylinders and circles. - ANSWER ✓
Veranda post of enthroned king and senior wife (Opo Ogoga)
Olowe of Ise (Yoruba peoples). c. 1910-1914 C.E. Wood and pigment
It is considered among the artist's masterpieces for the way it embodies his unique
style, including the interrelationship of figures, their exaggerated proportions, and
the open space between them - ANSWER ✓
Petra, Jordan: Treasury and Great Temple
Nabateen Ptolemaic and Roman. c. 400 B.C.E - 100 C.E. Cut rock
, These elaborate carvings are merely a prelude to one's arrival into the heart of
Petra, where the Treasury, or Khazneh, a monumental tomb, awaits to impress
even the most jaded visitors. The natural, rich hues of Arabian light hit the
remarkable façade, giving the Treasury its famed rose-red color. - ANSWER ✓
Buddha
Bamiyan, Afghanistan. Gandharan. c. 400-800 C.E. (destroyed in 2001). Cut rock
with plaster and polychrome paint
The cultural landscape and archaeological remains of the Bamiyan Valley
represent the artistic and religious developments which from the 1st to the 13th
centuries characterized ancient Bakhtria, integrating various cultural influences
into the Gandhara school of Buddhist art. - ANSWER ✓
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
Cubed building known as the Kaba may not rival skyscrapers in height or
mansions in width, but its impact on history and human beings is unmatched. The
Kaba is the building towards which Muslims face five times a day, everyday, in
prayer. This has been the case since the time of Prophet Muhammad (peace and
blessings be upon him) over 1400 years ago. - ANSWER ✓
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 sempirecious stones, pearls, and paint; various offerings
The Jowo Rinpoche statue, Tibet's most revered religious icon, was made in India
by Vishakarma during Buddha Shakyamuni's lifetime. At the time of the Buddha,
there were only two statues of this type. The other one is still at Bodhgaya. -
ANSWER ✓
Dome of the Rock
Jerusalem. Islamic, Umayyad. 691-629 C.E., with multiple renovations. Stone
masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt
aluminum and bronze dome
The Dome of the Rock is a building of extraordinary beauty, solidity, elegance,
and singularity of shape... Both outside and inside, the decoration is so magnificent
and the workmanship so surpassing as to defy description. The greater part is
covered with gold so that the eyes of one who gazes on its beauties are dazzled by
WITH CORRECT
SOLUTIONS||100% GUARANTEED
PASS|| A+ GRADED||UPDATED
2025/2026 SYLLABUS||<<NEWEST
VERSION>>
Wall plaque, from Oba's palace
Edo peoples, Benin (Nigeria). 16th century C.E. Cast brass
It was the first of three exceptional masterpieces from the Kingdom of Benin
acquired under Goldwater's guidance that dramatically transformed the collection.
- ANSWER ✓
Sika dwa kofi (Golden Stool)
Ashanti peoples (south central Ghana). c. 1700 C.E. Gold over wood and cast-gold
attachments
The Golden Stool has been such a part of their culture for so long, with so much
mythology around it, that we can't be sure exactly when it was made. The color to
represent royalty changes between times and cultures. Many of the brighter colors
simply weren't available throughout Africa until Europe began to colonize -
ANSWER ✓
Ndop (portrait figure) of King Mishe miShyaang maMbul
Kuba peoples (Democratic Republic of the Congo). c. 1760-1780 C.E. Wood
The ndop of Mishe miShyaang maMbul is part of a larger genre of figurative wood
sculpture in Kuba art. These sculptures were commissioned by Kuba leaders or
nyim to preserve their accomplishments for posterity. Because transmission of
knowledge in this part of Africa is through oral narrative, names and histories of
the past are often lost. The ndop sculptures serve as important markers of cultural
ideals. They also reveal a chronological lineage through their visual signifiers. -
ANSWER ✓
Power figure (Nkisi n'kondi)
,Kongo people's (Democratic Republic of Congo). c. late 19th century C.E. Wood
and metal
Nkisi nkondi figures are highly recognizable through an accumulation pegs,
blades, nails or other sharp objects inserted into its surface. - ANSWER ✓
Female (Pwo) mask
Chokwe peoples (Democratic Republic of the Congo). Late 19th to early 20th
century C.E. Wood, fiber, pigment, and metal
Chokwe masks are often performed at the celebrations that mark the completion of
initiation into adulthood. That occasion also marks the dissolution of the bonds of
intimacy between mothers and their sons. The pride and sorrow that event
represents for Chokwe women is alluded to by the tear motif. - ANSWER ✓
Portrait mask (Mblo)
Baule peoples ( Côte d'Ivoire). Early 20th century C.E. Wood and pigment
The mask is exceptional for its nuanced individuality, highly refined details,
powerful presence, and considerable age. It is especially appealing for its unusual
depth that affords strong three-quarter views. The broad forehead and downcast
eyes are classic features associated with intellect and respect in Baule aesthetics.
The departure from a rigidly symmetrical representation suggests an individual
physiognomy. The expression is one of intense introspection. Its serenity is subtly
animated by two opposing formal elements: the flourishes of the coiffure and beard
at the summit and base. - ANSWER ✓
Bundu mask
Sande Society, Mende peoples (West African forests of Sierra Leone and (Liberia).
19th to 20th century C.E. Wood, cloth, and fiber
The masks are worn by women who have a certain standing within the society, to
receive the younger women at the end of their three month's reclusion in the forest.
The different elements that compose the masks of this type, the half-closed and
lengthened eyes, the delicate contours of the lips, the slim nose, the serenity of the
forehead, the complexity of the headdress and the presence of neck and nape refer
not only to aesthetic values, but also to philosophical and religious concepts. -
ANSWER ✓
Ikenga (shrine figure)
Igbo peoples (Nigeria).c. 19th to 20th century C.E. Wood
The shrine reflects the great value the Igbo place on individual achievement.
Personal shrines are created in the form of figures known as ikenga to honor the
,power and skills of a person's right hand, as the right hand holds the hoe, the
sword, and the tools of craftsmanship. The basic form of an ikenga is a human
figure with horns symbolizing power, sometimes reduced to only a head with horns
on a base. - ANSWER ✓
Lukasa (memory board)
Mbudye Society, Luba peoples (Democratic Rpublic of the Congo). c. 19th to 20th
century C.E. Wood, beads, and metal
More detailed information is conveyed on the front and back of the board. On the
lukasa's "inside" surface (the front), human faces represent chiefs, historical
figures, and mbudye members. The rectangular, circular, and ovoid elements
denote organizing features within the chief's compound and the association's
meeting house and grounds. Its "outside" surface displays incised chevrons and
diamonds representing the markings on a turtle's carapace. - ANSWER ✓
Aka elephant mask
Bamileke (Cameroon, western grassfields region). c. 19th to 20th century C.E.
Wood, woven raffia, cloth, and beads
The elite Kuosi masking society controls the right to own and wear elephant
masks, since both elephants and beadwork are symbols of political power in the
kingdoms of the Cameroon grasslands. Masked performances have a variety of
purposes. Both of the masks displayed here were performed to support political
authority, but in different contexts. The mask may have exerted the will of village
elders by imposing economic prohibitions or organizing hunting parties to provide
for and protect the village. - ANSWER ✓
Reliquary figure (byeri)
Fang peoples (southern Cameroon). c. 19th to 20th century C.E. Wood
The Fang figure, a masterpiece by a known artist or workshop, has primarily been
reduced to a series of basic shapes—cylinders and circles. - ANSWER ✓
Veranda post of enthroned king and senior wife (Opo Ogoga)
Olowe of Ise (Yoruba peoples). c. 1910-1914 C.E. Wood and pigment
It is considered among the artist's masterpieces for the way it embodies his unique
style, including the interrelationship of figures, their exaggerated proportions, and
the open space between them - ANSWER ✓
Petra, Jordan: Treasury and Great Temple
Nabateen Ptolemaic and Roman. c. 400 B.C.E - 100 C.E. Cut rock
, These elaborate carvings are merely a prelude to one's arrival into the heart of
Petra, where the Treasury, or Khazneh, a monumental tomb, awaits to impress
even the most jaded visitors. The natural, rich hues of Arabian light hit the
remarkable façade, giving the Treasury its famed rose-red color. - ANSWER ✓
Buddha
Bamiyan, Afghanistan. Gandharan. c. 400-800 C.E. (destroyed in 2001). Cut rock
with plaster and polychrome paint
The cultural landscape and archaeological remains of the Bamiyan Valley
represent the artistic and religious developments which from the 1st to the 13th
centuries characterized ancient Bakhtria, integrating various cultural influences
into the Gandhara school of Buddhist art. - ANSWER ✓
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
Cubed building known as the Kaba may not rival skyscrapers in height or
mansions in width, but its impact on history and human beings is unmatched. The
Kaba is the building towards which Muslims face five times a day, everyday, in
prayer. This has been the case since the time of Prophet Muhammad (peace and
blessings be upon him) over 1400 years ago. - ANSWER ✓
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 sempirecious stones, pearls, and paint; various offerings
The Jowo Rinpoche statue, Tibet's most revered religious icon, was made in India
by Vishakarma during Buddha Shakyamuni's lifetime. At the time of the Buddha,
there were only two statues of this type. The other one is still at Bodhgaya. -
ANSWER ✓
Dome of the Rock
Jerusalem. Islamic, Umayyad. 691-629 C.E., with multiple renovations. Stone
masonry and wooden roof decorated with glazed ceramic tile, mosaics, and gilt
aluminum and bronze dome
The Dome of the Rock is a building of extraordinary beauty, solidity, elegance,
and singularity of shape... Both outside and inside, the decoration is so magnificent
and the workmanship so surpassing as to defy description. The greater part is
covered with gold so that the eyes of one who gazes on its beauties are dazzled by
