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Question 1
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
45%
(medium)
Question Stats:
64% (03:06) correct
36%
(02:45) wrong
based on 124
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
75%
(hard)
Question Stats:
46% (01:29) correct 54%
(01:48) wrong
based on 140
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
A
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
65%
(hard)
Question Stats:
49% (01:18) correct 51%
(01:36) wrong
based on 139
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
5%
(low)
Question Stats:
84% (00:57) correct 16%
(00:52) wrong
based on 122
sessions
History
Date
Time
Result
Not Attempted Yet
Sculpture in ancient Maya culture spanned various media, ranging from the miniature to the monumental, as artists shaped materials sourced from the landscape. Maya art developed from interactions between societies in the Yucatan Peninsula and the Olmec civilization of the Mexican Gulf Coast. By the first millennium B.C., Maya artists began working in stone, stucco, wood, bone, shell, and fired clay.
During the Classic Period (ca. 250–900), rulers of prominent city-states such as Tikal, Calakmul, Palenque, and Copán commissioned artworks to embellish their royal courts and bodies. After the fall of these Classic Period kingdoms, Maya artists in northern cities like Chichén Itzá looked to Central Mexico and southern Central America for inspiration, decorating temples and creating impressive offerings for rulers and gods.
The most common themes in Maya art were mortal rulers and supernatural beings. Royal courts employed full-time painters and sculptors, some of whom signed their creations. In the sculpture Relief with Enthroned Ruler, the patron Shield Jaguar IV is depicted on the right, receiving tribute from Tiloom, one of his subordinate rulers. The sculptor, Chakalte’, signed this lintel along with at least two other works. In this piece, Maya sculptors portrayed the human form naturally, showing royal figures sitting, standing, holding objects, and interacting. Working with limestone or volcanic tuff using primitive stone tools, they produced lifelike portraits of divine rulers, noblewomen, captives, and deities.
Maya sculptors also dedicated substantial effort to crafting portable stone objects. A spouted chocolate vessel made of indurated limestone required meticulous carving and polishing to achieve its detailed reliefs and polished finish. Archaeologists have uncovered the necessary tools—limestone quarries, chisels, blades, and polishing stones. Flint or chert ceremonial blades also served as royal scepters.
A nearly lost medium in Maya sculpture is wood. Few wooden artifacts have survived due to the humid tropical climate. Some temple door lintels were made of wooden beams featuring carved scenes of royal conquests and rituals. Three-dimensional wooden objects are even rarer, mostly preserved in dry tombs, caves, or waterlogged environments.
During the Classic Period (ca. 250–900), rulers of prominent city-states such as Tikal, Calakmul, Palenque, and Copán commissioned artworks to embellish their royal courts and bodies. After the fall of these Classic Period kingdoms, Maya artists in northern cities like Chichén Itzá looked to Central Mexico and southern Central America for inspiration, decorating temples and creating impressive offerings for rulers and gods.
The most common themes in Maya art were mortal rulers and supernatural beings. Royal courts employed full-time painters and sculptors, some of whom signed their creations. In the sculpture Relief with Enthroned Ruler, the patron Shield Jaguar IV is depicted on the right, receiving tribute from Tiloom, one of his subordinate rulers. The sculptor, Chakalte’, signed this lintel along with at least two other works. In this piece, Maya sculptors portrayed the human form naturally, showing royal figures sitting, standing, holding objects, and interacting. Working with limestone or volcanic tuff using primitive stone tools, they produced lifelike portraits of divine rulers, noblewomen, captives, and deities.
Maya sculptors also dedicated substantial effort to crafting portable stone objects. A spouted chocolate vessel made of indurated limestone required meticulous carving and polishing to achieve its detailed reliefs and polished finish. Archaeologists have uncovered the necessary tools—limestone quarries, chisels, blades, and polishing stones. Flint or chert ceremonial blades also served as royal scepters.
A nearly lost medium in Maya sculpture is wood. Few wooden artifacts have survived due to the humid tropical climate. Some temple door lintels were made of wooden beams featuring carved scenes of royal conquests and rituals. Three-dimensional wooden objects are even rarer, mostly preserved in dry tombs, caves, or waterlogged environments.
Q1. Which of the following can be most reasonably inferred about the use of wood as a material for sculpture in ancient Maya culture, based on the information provided in the passage?
A. The rarity of surviving wooden sculptures from the Maya period suggests that most Maya artists preferred working with more durable materials, such as stone or clay.
B. Wooden artifacts would have likely been more prominent in Maya art collections today had it not been for the environmental conditions that deteriorated these works over time.
C. The humid tropical climate that contributed to the decay of wooden artifacts would have also made it difficult for Maya artists to create detailed carvings in wood.
D. Wooden sculptures that survived were likely smaller in size than other sculptures because large wooden artifacts would have been more susceptible to environmental degradation.
E. The preference for stone over wood in Maya sculpture likely stemmed from the greater religious significance attributed to stone as a material for representing rulers and gods.
Q2. Which of the following statements, if true, would most undermine the significance of Chakalte’s signed artwork as evidence of the practice of Maya artists signing their works?
A. Most Maya signatures were small in size and likely faded with time.
B. Other signed Maya artworks from the same period have been discovered, but none of them feature depictions of royal figures like Shield Jaguar IV.
C. In many Maya city-states, artworks were considered community creations, and the names of individual artists were typically omitted.
D. Some of the Maya sculptures that have been discovered are not signed, even when they depict important rulers and ceremonies.
E. Chakalte's signed works were commissioned by a single royal patron, which was a rare practice among Maya rulers during the Classic Period.
A. Most Maya signatures were small in size and likely faded with time.
B. Other signed Maya artworks from the same period have been discovered, but none of them feature depictions of royal figures like Shield Jaguar IV.
C. In many Maya city-states, artworks were considered community creations, and the names of individual artists were typically omitted.
D. Some of the Maya sculptures that have been discovered are not signed, even when they depict important rulers and ceremonies.
E. Chakalte's signed works were commissioned by a single royal patron, which was a rare practice among Maya rulers during the Classic Period.
Q3. Which of the following can be inferred about the craftsmanship of Maya artists based on the information provided in the passage?
A. Maya artists were able to create lifelike human figures despite the limitations of their tools and materials.
B. The tools used by Maya artists were specially designed for each medium, with tools reserved exclusively for working with each material.
C. The use of polishing techniques for portable stone objects like the chocolate vessel suggests that Maya artists valued form over function.
D. The depiction of royal figures interacting in sculptures like the "Relief with Enthroned Ruler" implies that Maya artists were influenced by other Mesoamerican civilizations.
E. The fact that wooden sculptures are rare today indicates that Maya artists focused less on creating durable works and more on aesthetic appeal.
A. Maya artists were able to create lifelike human figures despite the limitations of their tools and materials.
B. The tools used by Maya artists were specially designed for each medium, with tools reserved exclusively for working with each material.
C. The use of polishing techniques for portable stone objects like the chocolate vessel suggests that Maya artists valued form over function.
D. The depiction of royal figures interacting in sculptures like the "Relief with Enthroned Ruler" implies that Maya artists were influenced by other Mesoamerican civilizations.
E. The fact that wooden sculptures are rare today indicates that Maya artists focused less on creating durable works and more on aesthetic appeal.
Q4. Which of the following best describes the organization of the passage?
A. A description of the evolution of Maya sculpture over time, followed by an explanation of how Maya artists integrated influences from other cultures into their work.
B. A general overview of the materials and methods used by Maya artists, followed by a detailed examination of specific examples of Maya artworks and the tools used to create them.
C. A discussion of the role of Maya rulers in commissioning artworks, followed by a comparison of various themes depicted in Maya sculptures.
D. An introduction to the types of sculptures created by Maya artists, followed by an exploration of the challenges that impacted the preservation of these sculptures.
E. A brief history of Maya art, followed by descriptions of artistic techniques and works, concluding with a discussion of the environmental impact on one material.
Q4. Which of the following best describes the organization of the passage?
A. A description of the evolution of Maya sculpture over time, followed by an explanation of how Maya artists integrated influences from other cultures into their work.
B. A general overview of the materials and methods used by Maya artists, followed by a detailed examination of specific examples of Maya artworks and the tools used to create them.
C. A discussion of the role of Maya rulers in commissioning artworks, followed by a comparison of various themes depicted in Maya sculptures.
D. An introduction to the types of sculptures created by Maya artists, followed by an exploration of the challenges that impacted the preservation of these sculptures.
E. A brief history of Maya art, followed by descriptions of artistic techniques and works, concluding with a discussion of the environmental impact on one material.
06 Sep 2024, 06:49
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Here are the official solutions to this question:
Q1. Which of the following can be most reasonably inferred about the use of wood as a material for sculpture in ancient Maya culture, based on the information provided in the passage?
A. The rarity of surviving wooden sculptures from the Maya period suggests that most Maya artists preferred working with more durable materials, such as stone or clay.
Incorrect. The preference of artists is not discussed, so this is unsupported by the passage.
B. Wooden artifacts would have likely been more prominent in Maya art collections today had it not been for the environmental conditions that deteriorated these works over time.
Correct. The passage clearly states that "few wooden artifacts have survived due to the humid tropical climate," implying that without such environmental degradation, more wooden artifacts would likely have been preserved and part of modern collections.
C. The humid tropical climate that contributed to the decay of wooden artifacts would have also made it difficult for Maya artists to create detailed carvings in wood.
Incorrect. While the passage mentions that wood decayed due to environmental conditions, it does not suggest that this made it difficult for artists to carve wood. In fact, the passage mentions that some detailed carvings were made in wood, suggesting that artists were skilled in this medium despite the climate.
D. Wooden sculptures that survived were likely smaller in size than other sculptures because large wooden artifacts would have been more susceptible to environmental degradation.
Incorrect. The passage makes no mention of size being a factor in the survival of wooden artifacts.
E. The preference for stone over wood in Maya sculpture likely stemmed from the greater religious significance attributed to stone as a material for representing rulers and gods.
Incorrect. The passage does not suggest any religious preference for stone over wood.
Q2. Which of the following statements, if true, would most undermine the significance of Chakalte’s signed artwork as evidence of the practice of Maya artists signing their works?
A. Most Maya signatures were small in size and likely faded with time.
Incorrect. This suggests that signatures existed but may have faded, which actually supports the idea that artists commonly signed works. It does not weaken the significance of Chakalte’s signature.
B. Other signed Maya artworks from the same period have been discovered, but none of them feature depictions of royal figures like Shield Jaguar IV.
Incorrect. This only highlights a difference in subject matter, which does not challenge the broader practice of signing artworks.
C. In many Maya city-states, artworks were considered community creations, and the names of individual artists were typically omitted.
Correct. This undermines the significance of Chakalte’s signed artwork by suggesting that the norm was to omit individual names, making Chakalte’s signature more of an exception than an indicator of a common practice. Also, potentially cast down on whether it was even the author's signature or just someone adding their name later.
D. Some of the Maya sculptures that have been discovered are unsigned, even when they depict important rulers and ceremonies.
Incorrect. This does not contradict the example of a signed artwork. The passage acknowledges that many artworks are unsigned, so this option does not diminish the significance of Chakalte’s signature.
E. Chakalte's signed works were commissioned by a single royal patron, which was a rare practice among Maya rulers during the Classic Period.
Incorrect. While this points out that the practice of commissioning signed works may have been rare, it doesn’t directly challenge the idea that Maya artists, in certain cases, signed their work. It doesn’t undermine the broader evidence that signatures existed.
Q3. Which of the following can be inferred about the craftsmanship of Maya artists based on the information provided in the passage?
A. Maya artists were able to create lifelike human figures despite the limitations of their tools and materials.
Correct. The passage notes that Maya sculptors used stone tools to create detailed, lifelike portraits of rulers and others. This implies that their skill allowed them to overcome any limitations posed by the tools and materials available to them, making this inference valid.
B. The tools used by Maya artists were specially designed for each medium, with stone tools reserved exclusively for working with limestone.
Incorrect. The passage mentions that Maya artists used stone tools, but it does not say that these tools were used exclusively for limestone or that they were specifically designed for each material. This inference overstates the information given.
C. The use of polishing techniques for portable stone objects like the chocolate vessel suggests that Maya artists valued form over function.
Incorrect. The passage highlights the craftsmanship involved in creating detailed reliefs and polishing the chocolate vessel, but it does not suggest that form was prioritized over function. In fact, the description of the reliefs implies that both form and craftsmanship were highly valued.
D. The depiction of royal figures interacting in sculptures like the "Relief with Enthroned Ruler" implies that Maya artists were influenced by other Mesoamerican civilizations.
Incorrect. While the passage does mention interactions between Maya and Olmec cultures, it does not link these influences to the depiction of royal figures interacting in Maya art. There’s no direct evidence supporting this inference.
E. The fact that wooden sculptures are rare today indicates that Maya artists focused less on creating durable works and more on aesthetic appeal.
Incorrect. The rarity of wooden sculptures is attributed to environmental degradation, not the artists’ focus on durability or aesthetics. The passage does not suggest that the Maya artists intentionally chose less durable materials for aesthetic reasons.
Q4. Which of the following best describes the organization of the passage?
A. A description of the evolution of Maya sculpture over time, followed by an explanation of how Maya artists integrated influences from other cultures into their work.
Incorrect. While the passage touches on the evolution of Maya art and mentions influences from other cultures, the passage does not organize itself strictly around these themes. The focus is broader and includes details about materials, techniques, and examples of specific artworks.
B. A general overview of the materials and methods used by Maya artists, followed by a detailed examination of specific examples of Maya artworks and the tools used to create them.
Incorrect. This choice partially describes the passage, but it doesn't fully capture the historical context or the mention of environmental factors affecting preservation. The organization of the passage is more comprehensive than this answer suggests.
C. A discussion of the role of Maya rulers in commissioning artworks, followed by a comparison of various themes depicted in Maya sculptures.
Incorrect. While the passage does discuss Maya rulers commissioning artworks, it does not delve into a comparison of themes depicted in Maya sculptures. Instead, it focuses more on materials, craftsmanship, and specific examples of signed works.
D. An introduction to the types of sculptures created by Maya artists, followed by an exploration of the challenges that impacted the preservation of these sculptures.
Incorrect. This answer overemphasizes the environmental challenges section, which is only briefly mentioned toward the end of the passage. The main focus is on materials, techniques, and examples of artworks.
E. A brief history of Maya art, followed by descriptions of artistic techniques and works, concluding with a discussion of the environmental impact on one material.
Correct. This option accurately reflects the structure of the passage: it begins with a brief history of Maya art, then moves into techniques and materials used, highlighting specific examples like the signed "Relief with Enthroned Ruler," and ends with a discussion of wood, a material that has mostly disappeared due to the humid climate.
Q1. Which of the following can be most reasonably inferred about the use of wood as a material for sculpture in ancient Maya culture, based on the information provided in the passage?
A. The rarity of surviving wooden sculptures from the Maya period suggests that most Maya artists preferred working with more durable materials, such as stone or clay.
Incorrect. The preference of artists is not discussed, so this is unsupported by the passage.
B. Wooden artifacts would have likely been more prominent in Maya art collections today had it not been for the environmental conditions that deteriorated these works over time.
Correct. The passage clearly states that "few wooden artifacts have survived due to the humid tropical climate," implying that without such environmental degradation, more wooden artifacts would likely have been preserved and part of modern collections.
C. The humid tropical climate that contributed to the decay of wooden artifacts would have also made it difficult for Maya artists to create detailed carvings in wood.
Incorrect. While the passage mentions that wood decayed due to environmental conditions, it does not suggest that this made it difficult for artists to carve wood. In fact, the passage mentions that some detailed carvings were made in wood, suggesting that artists were skilled in this medium despite the climate.
D. Wooden sculptures that survived were likely smaller in size than other sculptures because large wooden artifacts would have been more susceptible to environmental degradation.
Incorrect. The passage makes no mention of size being a factor in the survival of wooden artifacts.
E. The preference for stone over wood in Maya sculpture likely stemmed from the greater religious significance attributed to stone as a material for representing rulers and gods.
Incorrect. The passage does not suggest any religious preference for stone over wood.
Q2. Which of the following statements, if true, would most undermine the significance of Chakalte’s signed artwork as evidence of the practice of Maya artists signing their works?
A. Most Maya signatures were small in size and likely faded with time.
Incorrect. This suggests that signatures existed but may have faded, which actually supports the idea that artists commonly signed works. It does not weaken the significance of Chakalte’s signature.
B. Other signed Maya artworks from the same period have been discovered, but none of them feature depictions of royal figures like Shield Jaguar IV.
Incorrect. This only highlights a difference in subject matter, which does not challenge the broader practice of signing artworks.
C. In many Maya city-states, artworks were considered community creations, and the names of individual artists were typically omitted.
Correct. This undermines the significance of Chakalte’s signed artwork by suggesting that the norm was to omit individual names, making Chakalte’s signature more of an exception than an indicator of a common practice. Also, potentially cast down on whether it was even the author's signature or just someone adding their name later.
D. Some of the Maya sculptures that have been discovered are unsigned, even when they depict important rulers and ceremonies.
Incorrect. This does not contradict the example of a signed artwork. The passage acknowledges that many artworks are unsigned, so this option does not diminish the significance of Chakalte’s signature.
E. Chakalte's signed works were commissioned by a single royal patron, which was a rare practice among Maya rulers during the Classic Period.
Incorrect. While this points out that the practice of commissioning signed works may have been rare, it doesn’t directly challenge the idea that Maya artists, in certain cases, signed their work. It doesn’t undermine the broader evidence that signatures existed.
Q3. Which of the following can be inferred about the craftsmanship of Maya artists based on the information provided in the passage?
A. Maya artists were able to create lifelike human figures despite the limitations of their tools and materials.
Correct. The passage notes that Maya sculptors used stone tools to create detailed, lifelike portraits of rulers and others. This implies that their skill allowed them to overcome any limitations posed by the tools and materials available to them, making this inference valid.
B. The tools used by Maya artists were specially designed for each medium, with stone tools reserved exclusively for working with limestone.
Incorrect. The passage mentions that Maya artists used stone tools, but it does not say that these tools were used exclusively for limestone or that they were specifically designed for each material. This inference overstates the information given.
C. The use of polishing techniques for portable stone objects like the chocolate vessel suggests that Maya artists valued form over function.
Incorrect. The passage highlights the craftsmanship involved in creating detailed reliefs and polishing the chocolate vessel, but it does not suggest that form was prioritized over function. In fact, the description of the reliefs implies that both form and craftsmanship were highly valued.
D. The depiction of royal figures interacting in sculptures like the "Relief with Enthroned Ruler" implies that Maya artists were influenced by other Mesoamerican civilizations.
Incorrect. While the passage does mention interactions between Maya and Olmec cultures, it does not link these influences to the depiction of royal figures interacting in Maya art. There’s no direct evidence supporting this inference.
E. The fact that wooden sculptures are rare today indicates that Maya artists focused less on creating durable works and more on aesthetic appeal.
Incorrect. The rarity of wooden sculptures is attributed to environmental degradation, not the artists’ focus on durability or aesthetics. The passage does not suggest that the Maya artists intentionally chose less durable materials for aesthetic reasons.
Q4. Which of the following best describes the organization of the passage?
A. A description of the evolution of Maya sculpture over time, followed by an explanation of how Maya artists integrated influences from other cultures into their work.
Incorrect. While the passage touches on the evolution of Maya art and mentions influences from other cultures, the passage does not organize itself strictly around these themes. The focus is broader and includes details about materials, techniques, and examples of specific artworks.
B. A general overview of the materials and methods used by Maya artists, followed by a detailed examination of specific examples of Maya artworks and the tools used to create them.
Incorrect. This choice partially describes the passage, but it doesn't fully capture the historical context or the mention of environmental factors affecting preservation. The organization of the passage is more comprehensive than this answer suggests.
C. A discussion of the role of Maya rulers in commissioning artworks, followed by a comparison of various themes depicted in Maya sculptures.
Incorrect. While the passage does discuss Maya rulers commissioning artworks, it does not delve into a comparison of themes depicted in Maya sculptures. Instead, it focuses more on materials, craftsmanship, and specific examples of signed works.
D. An introduction to the types of sculptures created by Maya artists, followed by an exploration of the challenges that impacted the preservation of these sculptures.
Incorrect. This answer overemphasizes the environmental challenges section, which is only briefly mentioned toward the end of the passage. The main focus is on materials, techniques, and examples of artworks.
E. A brief history of Maya art, followed by descriptions of artistic techniques and works, concluding with a discussion of the environmental impact on one material.
Correct. This option accurately reflects the structure of the passage: it begins with a brief history of Maya art, then moves into techniques and materials used, highlighting specific examples like the signed "Relief with Enthroned Ruler," and ends with a discussion of wood, a material that has mostly disappeared due to the humid climate.
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