AP Art History Sample Student Responses and Scoring Commentary

2017

AP Art History

Sample Student Responses

and Scoring Commentary

Inside:

• Free Response Question 2

• Scoring Guideline

•

Student Samples

•

Scoring Commentary

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ORING GUIDELINES

Question 2

As Buddhism expanded across Asia, Buddhist art and architecture were expressed in a variety of ways in

relation to the visual traditions of the region.

Select and completely identify one Buddhist architectural complex associated with the expansion of

Buddhism across Asia. You may select a work from the li

st below or any other relevant work from West and

Central Asia (500

B.C.E.–1980 C.E.) or South, East, and Southeast Asia (300 B.C.E.–1980 C.E.).

Describe the Buddhist complex using at least two examples of specific visual evidence (such as

architectur

al features or imagery).

Explain how two features of the complex are typical of the visual traditions of the region.

Using specific contextual evidence, explain how two features of the complex functioned to facilitate

Buddhist practices.

When identifying the work you select, you should try to include all of the following identifiers: title or

designation,

culture of origin, date of creation, and materials. You will earn credit for the identification if

you provide at least two accurate identifiers, but you will not be penalized if any additional identifiers you

provide are inaccurate. If you select a work from the list below, you must include at least two accurate

identifiers beyond those that are given.

Great Stupa at Sanchi

Longmen caves

Todai-ji

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Question 2 (continued)

Scoring Criteria

Task Points

Selects and completely identifies a Buddhist architectural complex associated with the

expansion of Buddhism in West and Central Asia (500

B.C.E.−1980 C.E.) or South, East,

and Southeast Asia (300

B.C.E.−1980 C.E.).

hen identifying the work, the student should try to include all of the following

identifiers: title or designation, culture of origin, date of creation, and materials. The

student will earn credit for the identification if at least two accurate identifiers are

provided, but the student will not be penalized if any additional identifiers provided are

inaccurate. If a work from the list is selected, the student must include at least two

accurate identifiers beyond those that are given.

point

Accurately describes the Buddhist complex using ONE example of specific visual

evidence (such as architectural features or imagery).

1 point

Accurately describes the Buddhist complex using ANOTHER example of specific visual

evidence (such as architectural features or imagery).

1 point

Accurately explains how ONE feature of the complex is typical of the visual traditions of

the region.

1 point

Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions of the region.

1 point

Accurately uses specific contextual evidence to explain how ONE feature of the

complex functioned to facilitate Buddhist practices.

1 point

Accurately uses specific contextual evidence to explain how ANOTHER feature of the

complex functioned to facilitate Buddhist practices.

1 points

Total Possible Score 7 points

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Question 2 (continued)

Scoring Information

Great Stupa at Sanchi. Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c. 300

B.C.E. – 100 C.E. Stone masonry, sandstone on dome.

Describe the Buddhist complex using at least two examples of specific visual evidence (such

as architecture or imagery).

The Buddhist complex at Sanchi can be described as a religious community and pilgrimage site with

multiple stupas, temples, chaitya halls, and monastic dwellings (viharas). The largest of these stupas at

Sanchi, commonly known as the Great Stupa, is a hemispherical stone structure surrounded by an

elevated walkway and railings punctuated by four large gateways called toranas, each pointing toward one

of the four cardinal directions.

The four toranas have densely packed relief sculptures on lintels that display a wealth of symbolic imagery

related to the historical Buddha’s life, his past lives (jatakas), and the central tenets of the Buddhist faith.

Instead of depicting the Buddha in human form, the sculptures show traditional symbols of the

Shakyamuni Buddha, such as footprints, an empty throne, a sacred tree, parasols, and the wheel of the law

(the dharma). A voluptuous female figure known as a yakshi hangs in an auspicious pose from a mango

tree at the end of one of the east torana’s beams.

The Great Stupa rises above an elevated circular walkway and is topped by a harmika, a square platform

with an axial pole (yasti) enclosed by a balustrade. The yasti bears three stone discs of decreasing sizes.

Next to the Great Stupa, a monumental pillar was erected with imagery and inscriptions that combine the

compassionate message of Buddhism with the merits of Ashoka, the first ruler to embrace Buddhism on

the Indian subcontinent, and during whose reign the Buddhist community at Sanchi was founded.

Although not original to the complex, statues of Buddha were placed along the circular path at a later date.

Explain how two features of the complex are typical of the visual traditions of the region.

Building stupas is a South Asian visual tradition that originated long before Buddhism, though the form of

the stupa has come to be most closely associated with the burial of the Buddha’s ashes at locations linked

with events from the Buddha’s life. Such sites include Lumbini, the birthplace of the Buddha; Bodh Gaya,

the place where the Buddha attained Enlightenment; and Sarnath, where the Buddha preached his first

sermon. These ashes activate the earthen mounds with spiritual energy. In the region the form of the stupa

has been interpreted variously as representing an individual seated in a meditative pose, or as a sacred

mountain, similar to the symbolism of Hindu temples, such as the superstructure of the Lakshama Temple

at Khajuraho, meant to appear like the rising peaks of Mount Meru.

The positioning of the toranas at the four cardinal directions suggests that the layout was designed in the

form of a mandala, a cosmic diagram of the universe. Mandalas are present throughout South Asia in

architecture, paintings, and fiber arts. The sculpted toranas imitate earlier Indian wooden gates, though

their intensity of ornamentation is unique. The use of symbols on the toranas to represent the Buddha,

rather than depictions of the historical Buddha himself, belongs to visual traditions in this region in that

the Buddha was not represented in human form at this time in Indian art.

On the east torana the sensuous yakshi is an important South Asian visual tradition that predates

Buddhism, like the form of the stupa itself. As the source of life, the yakshi conjures up notions of

fruitfulness and spiritual growth for those who seek nirvana. She causes a tree to bloom with her very

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Question 2 (continued)

touch. Her tribanga, or “three bends posture,” pose has been interpreted as imitating that of Maya, the

mother of the Buddha, as she gave birth to the Enlightened One. With the form of the yakshi, Buddhist

artists adopted existing regional symbolism and modified it to create a new Buddhist iconography.

Other visual traditions of the region are present at the Great Stupa. The harmika railings were likely

inspired by earlier Indian traditions of placing wooden fences around venerated trees and have on occasion

been compared with those that once surrounded open-air altars used by ancient Brahmins. The yasti

within the harmika signifies an axis mundi, which connects the Earth to the heavens in a central, sacred

location of great power. The three discs on the yasti have been interpreted as referencing the three jewels

of Buddhism: the Buddha, the law, and the community. They also symbolize the umbrellas or parasols used

to provide shade for important individuals; they are regionally specific symbols of royalty and protection.

Using specific contextual evidence, explain how two features of the complex functioned to

facilitate Buddhist practices.

An elevated walkway surrounding the stupa facilitates the Buddhist practice of circumambulation —

walking clockwise — suggesting the cyclical journey of birth, death, and rebirth, as well as the journey of

the Earth around the Sun, bringing the devout into harmony with the cosmos. The circular path recalls the

spokes of the wheel of the Eightfold Path that surround an unmoving center: the enlightened state. As

devotees engage in circumambulation, they chant Buddhist texts or recite sacred hymns and mantras.

Through a series of prostrations around the circular structure, practitioners can raise their body

temperature to mimic the heat of the fire that cremated the body of the Buddha, thereby imitating the

process by which the Buddha detached himself from the physical world and progressed to Enlightenment.

The Great Stupa is also fashioned to facilitate Buddhist practices through the positioning of the toranas.

They are shaped at right angles so that practitioners move in a directional manner that guides them to the

correct path to Enlightenment. Great events of the life of Buddha are linked with each of the toranas and

with the directions that they face. Passing through the toranas, pilgrims pass from the realm of the senses

to the realm of the spirit, a place designated for prayer and meditation: the state of being required to

progress on the spiritual journey to nirvana. The narrative and symbolic imagery on the gateways assist

the pilgrim in focusing the mind to internalize Buddhist ideas, a practice enhanced by chanting Buddhist

texts or reciting hymns and mantras.

The very act of building a stupa has favorable consequences for Buddhist practitioners. For example, by

constructing a stupa, the devout can hope to escape poverty in the next life and to avoid being born in a

remote location. Partly for this reason, and to spread the new faith for both political and religious purposes,

Ashoka commissioned the building of stupas throughout his empire. At the Great Stupa, over 600

inscriptions commemorate the different individuals (both monks and laypeople) who contributed to the

building project in the hope of obtaining spiritual (karmic) benefits.

Longmen caves. Luoyang, China. Tang Dynasty. 493–1127

C.E. Limestone.

Describe the Buddhist complex using at least two examples of specific visual evidence (such

as architecture or imagery).

The Buddhist complex at Longmen can be described as a honeycomb of more than two thousand caves,

shrines, and niches carved into the steep limestone cliffs located on both sides of the Yi River just south of

the ancient capital of Luoyang, an early monastic center for Buddhism in China. The site extends for

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Question 2 (continued)

almost a mile and contains over 100,000 stone statues, 60 stupas, and nearly 3,000 inscriptions. The largest

and most imposing of these groupings is known as the Fengxian Temple, where a colossal Vairocana

Buddha is flanked by eight massive attendants and numerous small figures in a wide semicircle. Differing

from the historical Shakyamuni Buddha worshipped at the Great Stupa, the Vairocana Buddha is the

celestial Buddha who transcends space and time, the entire universe emanating from his presence. In the

Mahayana School the Vairocana Buddha is a savior.

At Fengxian Temple the Vairocana Buddha is carved wearing graceful, flowing monastic robes with a

rounded face, downcast eyes, and the hint of a smile. He sits cross-legged in the lotus pose and displays

conventions such as elongated earlobes, a topknot (ushnisha), and downcast eyes. Behind him a once-

painted halo and a flaming mandorla are carved into the cave wall.

The Buddha is flanked by two disciples (arhats). These are believed to be Ananda and Kasyapa,

identifiable by their shaven heads, long earlobes, and halos. The Buddha is also attended by divine beings

called bodhisattvas who are able to reach nirvana but delay in doing so out of compassion for the suffering.

The bodhisattvas wear heavy jeweled ornaments, crowns, and pendants. Like the Buddha, the

bodhisattvas present idealized visions of the Buddhist faith, with their small mouths, arched eyebrows,

and tiny pointed chins that suggest a pure and fleeting beauty.

At the outermost points of the semicircle four figures protect the Buddha’s state of meditative bliss. Two

are heavenly kings, one of whom displays in his hand a small stupa, a symbol of the Buddhist faith, as he

crushes an evil spirit. The other two are guardian figures, known in Buddhist cosmology as thunderbolt

holders (vajrapani). Their agitated facial expressions and dynamic yet tense posturing — arms, legs, and

chests all carved with prominent musculature — contrasts sharply with the rounded, serene countenances

and graceful, composed stances of the Vairocana Buddha and his other attendants.

Explain how two features of the complex are typical of the visual traditions of the region.

The Vairocana Buddha at Fengxian Temple continued a tradition of carving monumental figures of the

Buddha on cliffs at strategic sites along the Silk Road, such as Bamiyan in present-day Afghanistan.

Alongside these complexes developed large communities of Buddhist monks who assisted in the spread of

Buddhist ideas and traditions.

The visual tradition of portraying the Buddha in human form developed along the Silk Road, spreading

eastward into China along with the beliefs and practices associated with the Mahayana Buddhist faith.

The graceful, linear Tang style of this particular Buddha demonstrates the influence of the sect of Pure

Land Buddhism, which was particularly influential during the Tang Dynasty when these figures were

made. The halo and flaming mandorla carved into the cave wall behind the Vairocana Buddha are

characteristic of representations of the supreme being in the Pure Land faith. In addition, the image of a

supreme deity resonated with the imperial aims of the Tang emperor and marks a distinct change from the

earlier historical, or Shakyamuni, Buddha in its scale and cosmic aura.

The presence of arhats is appropriate in a cave setting in that they traditionally dwell in remote places,

their influence on earthly affairs having ceased. Like the Buddha, the arhats are robed as monks and

depicted with haloes to distinguish them from ordinary beings. The arhats and the bodhisattvas flanking

the Buddha reflect a graceful quality derived from the influence of traditional Indian sculpture.

The heavenly kings, too, bear traditional Indian visual traits: for example, in their clothing and their poses,

with hands on hips. These heavenly kings symbolize the elements and protect the continents located in

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Question 2 (continued)

the oceans surrounding the sacred mountain. They maintain the cosmic order as it emanates from the

Vairocana Buddha. That the heavenly kings symbolize directional forces recalls the traditional Daoist

practice in China of feng shui, a method used to orient features in a particular site harmoniously with

natural forces so that the resulting energy (qi) has the power to influence people’s lives auspiciously.

Although known as thunderbolt holders, the guardian figures are portrayed in the style characteristic of

China: warding off evil with an open hand, rather than carrying an actual thunderbolt (vajra).

As a whole, the opulent setting at Fengxian Temple refers to the Pure Land belief in the Paradise of the

West (Sikhavati), while the clear and symmetrical ordering of the figures recalls a Confucian context

appropriate for a Chinese site whose name means “Honoring Ancestors Temple.” As a mirror of the Tang

imperial court, the Fengxian Temple suggests a paradise of harmonious beauty and happiness, a reward

for the faithful, ruled over by a single great leader, not unlike the Tang emperor himself.

Using specific contextual evidence, explain how two features of the complex functioned to

facilitate Buddhist practices.

The cave dwellings were originally used for meditation and later became places of worship and pilgrimage

for travelers along the Silk Road. In sponsoring the creation of Buddhist works at Longmen, practitioners

believed they would obtain spiritual (karmic) benefits. According to Pure Land Buddhism, worshippers

could reach paradise through such devotion without having to undertake the hard path of austerity

promoted by Theravada Buddhism. The sheer number of Buddhist statues, imagery, and inscriptions

provide evidence that thousands of pious donors existed to ensure that prayer rites and scriptural

recitation might be conducted at Longmen on their behalf. The most famous of these donors is the Tang

Emperor Gaozong and Empress Wu Zetian, whose sponsorship of the sculptural grouping at the Fengxian

Temple is recorded in an inscription at the site. Supposedly, these features were modeled after those of the

Empress Wu Zetian.

The dark interiors of the caves at Longmen were also meant to help practitioners progress along the

Eightfold Path by suggesting a renunciation of desires associated with the physical world. To create the

atmosphere of a cave the Fengxian Temple was originally covered with a wooden roof and a wooden

facade to create a dark, sacred space where ceremonies could be performed with votive offerings and

musical instruments, such as gongs.

The monumental statue of the Vairocana Buddha was intended to encourage meditation through his lotus

pose and calm demeanor. Other Buddhas at Longmen depict the Amitabha, the principal Buddha in the

Pure Land. The cult of Amitabha, popularized at Longmen, taught that to enter the Paradise of the West,

believers must focus on the Vairocana Buddha for seven nights while reciting a mantra known as “Homage

to Amitabha Buddha.” The bodhisattvas and arhats also serve to facilitate Buddhist practices by serving as

models of encouragement or inspiration. They postpone Enlightenment so that they can compassionately

assist others in achieving nirvana. In addition, the fierce guardians serve as reminders that one is entering

a protected space where the mind is purified and respect deserves to be paid in the form of bowing,

prostration, or a gesture of reverence or gratitude (gassho).

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Question 2 (continued)

Todai-ji. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the Kei

School. 743

C.E.; rebuilt c. 1700 C.E. Bronze and wood (sculpture); wood with ceramic roofing

(architecture).

Describe the Buddhist complex using at least two examples of specific visual evidence (such

as architecture or imagery).

The Buddhist complex at Todai-ji can be described as a religious community and administrative center that

was first built by the Emperor Shōmu in the 8

century to serve as headquarters of regional Buddhist temples

throughout Japan. The complex originally included an extensive number of gateways, temples, pagodas,

gardens, and monastic quarters. Although many of these buildings no longer exist due to damage from fire,

earthquakes, and warfare, what remains is still a physically imposing compound centered around the Great

Buddha Hall (Daibutsuden), one of the largest wooden structures in the world. The complex is surrounded by

a park with a large population of free-roaming deer.

The existing

Daibutsuden has seven bays. (The original had 11.) The curving, two-tiered roof of the

Daibutsuden has a gentle curve and is accented with gleaming shibi, forms inspired by mythical sea

creatures that were intended to protect the building from fire. The eaves extend far beyond the walls, their

weight supported by a complex system of bracketing known as tokyo. The roof has ceramic tiles

(onigawara) that depict fearsome beasts meant to repel evil spirits.

Inside the Daibutsuden the colossal bronze and wood Vairocana Buddha (Daibutsu) is a recreation of the

original bronze statue of the celestial Buddha that was also destroyed. The Buddha has snail-curl hair and

sits in the lotus pose, compassionately welcoming the devout with the varada mudra with his left hand.

His right hand displays the abhaya mudra, indicating reassurance and safety. Behind him is a gilded

mandorla, and he sits on a bronze lotus-petal throne engraved with verses from the Lotus Sutra and with

pictorial representations of Enlightenment. These include images of the historical Shakyamuni Buddha

and various bodhisattvas.

At the entrance to the complex, two ferocious Nio guardian figures are installed in niches within the Great

Southern Gate (Nandaimon). These joined-wood sculptures, created during the Kamakura period by artists

Unkei and Keikei, stand in dramatic contrapposto with tense musculature and swirling drapery. They were

originally painted. Known as Agyō and Ungyō, the figures differ from each other in that Agyō has an open

mouth while Ungyō has a closed mouth, symbolism that has been interpreted as representing life and death,

the beginning and the end of a journey.

Explain how two features of the complex are typical of the visual traditions of the region.

Visually the buildings at Nara are typical of Japanese architectural traditions through their extensive use of

wood. For example, the Daibutsuden exemplifies the Japanese tradition of a kondo, meaning “golden hall,” a

large wooden structure used as a focal point to enshrine the main object of veneration within a complex. The

style of the Daibutsuden is regionally specific in that it reflects the influence on Japanese Buddhism of

Shintoism, an indigenous belief system that predates Buddhism and which emphasizes refined simplicity

and naturalness. In Shintoism, spirits known as kami are believed to inhabit natural forms, such as trees and

rocks. To appease these spirits, Japanese artists often avoid painting or decorating natural materials. Also

reflecting Shinto practices, Japanese carpenters used complex wooden joints instead of nails in their

construction of the Daibutsuden to maintain a sense of architectural purity.

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Question 2 (continued)

The influence of Shintoism is further evident in the inclusion of gates leading into Todai-ji, such as the

Nandaimon gate. In the Shinto tradition entrances to shrines are marked with torii to separate secular and

sacred space. The use and forms of Shinto torii are believed to have derived from the Indian tradition of

toranas, such as those found at the Great Stupa. The surrounding gardens at Todai-ji further suggest a

complementary relationship between Shintoism and Buddhism, particularly through the presence of small

deer who are regarded in Shintoism as messengers of the gods. The gardens emphasize a spiritual

connection with the natural world. They also provide an allusion to Deer Park, the location where Buddha

preached his first sermon.

Inside the Daibutsuden the giant statue of the Daibutsu reflects visual traditions of Mahayana Buddhism that

are common across Asia. The monumental scale was most likely inspired by statues of Buddha created for

cave dwellings and temples along the Silk Road, such as at Bamiyan in present-day Afghanistan and at the

Longmen caves in China.

Similarly, the Nio guardian figures at the Nandaimon gate have antecedents in visual traditions of Mahayana

Buddhism. They are the Japanese equivalent of the thunderbolt holders (vajrapani) at Fengxian Temple and

reflect the specific tastes of Japan’s daimyo and warrior classes through their fierce expressions and

aggressive poses. Like the Longmen vajrapani, the Nio have swirling drapery and pronounced musculature:

characteristics that would have appealed to patrons during the Kamakura period when the guardian figures

were carved. The Nio merge Chinese and Indian visual traditions in that they have both open hands and hold

thunderbolts. They were, however, created with the traditionally Japanese joined-block technique (yosegi-

zukuri).

As a whole, the symmetrical layout of the Buddhist complex at Todai-ji was based on Chinese monastic

communities and reflects a synthesis of different religious principles. The Chinese influence was perhaps

most evident in Todai-ji’s two pagodas, multistoried structures that serve as stupas (symbols of the

Buddha) in the Buddhist tradition in China. The Chinese influence is also present in the ornamented roof

tiles, the system of bracketing used to support tile roofs, and the mythical creatures perched on the eaves.

Using specific contextual evidence, explain how two features of the complex functioned to

facilitate Buddhist practices.

As at the Great Stupa in India and Longmen caves in China, the very building of a Buddhist temple and the

commissioning of a Buddhist statue is a Buddhist practice that provides spiritual (karmic) benefits to those

who contribute. While the Emperor Shōmu’s original construction of Todai-ji drew criticism in that every

Japanese citizen was required to contribute through a special tax, the rebuilding of the Daibutsuden and

recasting of the Daibutsu after the Genpei Civil War was a nationalistic endeavor to which thousands of

individual practitioners voluntarily contributed.

At Todai-ji Buddhist practitioners proceed through a series of gateways marking the entrance to a spiritual

realm. The guardian figures at the Nandaimon gate serve as reminders that one is entering a protected

space where the mind is purified and respect deserves to be paid in the form of bowing, prostration, or a

gesture of reverence or gratitude. After passing by these fierce protectors, worshippers progress along a

wide, long path to reach the Daibutsuden, where they are meant to pray and meditate in the presence of

the Buddha. As at Longmen, the monumental figure of the Daibutsu is the devotional focus, positioned in

the hall to allow for circumambulation. Early in Todai-ji’s history circumambulation also occurred in and

around the pagodas of the complex. The noble elite would have gathered inside the porches of the

Daibutsuden to listen to monks performing rituals as they gazed upwards towards the colossal bronze

Buddha.

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Question 2 (continued)

When the first Daibutsu was created a lavish and expansive “eye-opening” ceremony took place, with an

Indian monk painting in the Buddha’s eyes to bring the statue to life in the presence of the Emperor

Shōmu, his wife the Empress Kōmyō, Japanese court and government officials, foreign dignitaries from

India and China, and over 10,000 Buddhist monks. (The brush is preserved in Todai-ji’s treasury.) Today an

annual ritual cleaning of the Daibutsu serves a similar function of reminding Buddhists of the need to

attend dutifully to the needs of the statue.

Recently x-rays have revealed objects inside the Daibutsu, such as a human tooth, pearls, mirrors, swords,

and jewels, possibly relics of the Emperor Shōmu. This is in keeping with the Mahayana Buddhist practice

of consecrating figures of the Buddha by filling their interior with precious objects prior to the statue’s

being sealed and blessed. In Mahayana Buddhism, statues are granted power only when they have been

properly filled and blessed. A statue of Kokuzo, a Buddhist deity, is located behind the Vairocana and is

depicted holding a gem in which he bestows his worldly blessings. He is associated with the lengthy

reciting of the Morning Star Meditation mantra that has been performed for over 1,000 years.

Another healing practice still associated with the site today is the belief that an individual will be granted

an easier path to Enlightenment if they can squeeze through rear support pillars, which have holes in the

bottom. These openings are said to be the same size as the Daibutsu’s nostril. A famous bronze lantern,

dating from the founding of Todai-ji, is located outside the Daibutsuden and inscribed with a text

highlighting the merits of auspiciously lighting lanterns in Buddhist practice.

Because Todai-ji has always been a monastic training center, rituals performed within the Daibutsuden

have been conducted with Buddhist instruction in mind, both for the monks and for the laity. One of these

rituals is the copying of Buddhist sutras, a practice promoted heavily at the time of Todai-ji’s founding by

the Empress Kōmyō. At the rear of the temple are the monastic quarters and a second great hall, in which

monastic teaching still takes place. Because of the role of these monasteries in training Buddhist monks

and then sending them to spread the Buddhist faith across Japan, Todai-ji originally served as a central

administrative center that strongly linked the authority of the Emperor Shōmu with his political agenda to

unify the country through the practice of a single religion. The Daibutsu and the beliefs that it embodied

were intended to bring comfort, strength, and unity to the Japanese people in response to the rebellions,

epidemics, and natural disasters that befell Japan during the 8

century.

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Question 2 (continued)

Scoring Notes

Great Stupa at Sanchi. Madhya Pradesh, India. Buddhist; Maurya, late Sunga Dynasty. c.

300

B.C.E.–100 C.E. Stone masonry, sandstone on dome.

1 Selects and completely identifies one Buddhist architectural complex associated with

the expansion of Budd

hism in West and Central Asia (500

B.C.E.−1980 C.E.) or South,

East, and Southeast Asia (300

B.C.E.−1980 C.E.). Credit will be given for at least two accurate

identifiers, apart from the designation given in the question prompt, taken from the following list:

 Madhya Pradesh, India (India is acceptable)

 Maurya, late Sunga Dynasty

 Date: c. 300

B.C.E.−100 C.E. Also acceptable: a date within 100 years of the original

 Materials: Stone masonry, sandstone, dirt, ashes (sandstone/stone is acceptable)

2 Accurately describes the Buddhist complex using ONE example of specific visual

evidence (such as arch

itectural features or imagery).

 The stupa is a large, hemispherical st

one structure surrounded by an elevated walkway and

railing.

 Four tall gateways (toranas) are sculpted in stone and ca

pped with carved lintels. Each one

depicts an array of figures, including a sensual

yakshi

figure, and symbols. They point towards

the four cardinal directions.

 Sculpted reliefs, located on the gateway lintels, are densely packed with imagery related to the

historical Bu

ddha’s life, his past lives, and the central tenets of the Buddhist faith.

 An axial pole (yasti) is centrally positioned at the top of the stupa, surrounded by a square

enclosure

(harmika). It displays three discs of decreasing size.

 A monumental pillar once stood nearby with imagery and inscriptions reflecting the

patronage

of Ashoka.

 Statues of the Buddha, although not original to the structure, were placed at Sanchi along the

circular

path.

3 Accurately describes the Buddhist complex using ANOTHER example of specific visual

evidence (such as arch

itectural features or imagery).

See above.

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Question 2 (continued)

4 Accurately explains how ONE feature of the complex is typical of the visual traditions of

the region.

 Stupas, which predate Buddhism in South Asia, are closely associated with the burial of the

Buddha’s ashes at locati

ons linked with events from the Buddha’s life. These ashes activate the

earthen mounds with spiritual energy, and in the region have been interpreted variously as

representing an individual seated in a meditative pose or as a sacred mountain.

 The gateways, oriented to the ca

rdinal points, provide evidence that the complex was

designed in the form of a cosmic diagram of the universe (mandala), as was usual with

sacred sites in India. They are constructed to simulate earlier wood constructions of sacred

structures centered around ritual practices of the Brahmins.

 The yakshis on the gateways are reminders of the influence of earlier Hindu traditions on

Buddhist art. They ar

e fertility figures that represent fruitfulness and spiritual growth for those

who seek nirvana.

 Symbolic imagery in the gateway reliefs is used to represent the historical Buddha.

Because

Buddha was not depicted in human form at this time and in this region, his

presence is indicated by visual symbolic representations such as the wheel of the law, Buddha’s

footprints, a sacred tree, parasols, and an empty throne.

 Its square enclosure (harmika) is likely inspired by earlier Indian traditions of placing fences

around venerated trees, and have on occasion been compared with those that once surrounded

open-air altars.

 Monumental pillars were already established in Hindu tradition as symbols of a world axis.

5 Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions

of the region.

See above.

6 Accurately uses specific contextual evidence to explain how ONE feature of the complex

functioned

to facilitate Buddhist practices.

 The circular stupa and its elevated walkway, recalling the spokes of the wheel of the

Eightfold Pat

h that surround an unmoving center, facilitated the practice of circumambulation

— walking clockwise — bringing the devout into harmony with the universe. In doing so the

worshipper engages in a series of energetic prostrations, to raise body temperature and

mimic the heat of the fire that cremated the Buddha’s body.

 The gateways facilitate the passing of pilgrims from the

realm of the senses to the

realm of the spirit. They are shaped at right angles so that practitioners move in a directional

manner that guides them to the correct path.

 The narrative and symbolic imagery on the sculpted gateways assist the pilgrim in

focusing the mind

to internalize Buddhist ideas, a practice enhanced by chanting Buddhist

texts or reciting hymns and mantras.

 Over 600 inscriptions throughout the complex commemorate different individuals who

contributed to the project in the hope of obtaining karmic benefits.

7 Accurately uses specific contextual evid

ence to explain how ANOTHER feature of the

complex functioned to facilitate Buddhist practices.

See above.

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Question 2 (continued)

Longmen Caves. Luoyang, China. Tang Dynasty. 493−1127

C.E. Limestone.

1 Selects and completely identifies one Buddhist architectural complex associated with

the expansion of Budd

hism in West and Central Asia (500

B.C.E.−1980 C.E.) or South,

East, and Southeast Asia (300

B.C.E.−1980 C.E.). Credit will be given for at least two accurate

identifiers, apart from the designation given in the question prompt, taken from the following list:

 Luoyang, China (China is acceptable)

 Tang Dynasty

 Fengxian Temple, created 673−675

C.E. (600s; 7

century; OR a date within 100 years

would be acceptable)

 Date for overall complex: 493−1127

C.E. Also acceptable: any date within this range for

overall complex

 Materials: Limestone (stone/rock-cut is acceptable; rock is NOT acceptable)

2 Accurately describes the Buddhist complex using ONE example of specific visual

evidence (such as arch

itectural features or imagery).

 Over 2,000 caves are carved into limestone cliffs and contain numerous statues, stupas,

and inscripti

ons. The site extends for almost a mile along the Yi River.

 A colossal Vairocana Buddha, flanked by eight massive attendants, is carved wearing

graceful

, flowing monastic robes with a rounded face. He sits cross-legged in the lotus pose and

displays conventions such as elongated earlobes, an ushnisha, and downcast eyes. Behind him

is a halo and a flaming mandorla carved into the cave wall.

 Four guardian figures stand in dynamic, tense poses and are carved with prominent

musculature.

 Bodhisattvas are shown flanking the Buddha and wearing jeweled ornaments, crowns, and

pendants. They are idealized with small mouths, arched eyebrows, and tiny pointed chins.

Arhats, believed to be the hermetic disciples of Buddha, also flank the Buddha and are depicted

in monastic robes with shaven heads.

 The Fengxian Temple originally had a roof and was lavishly decorated.

3 Accurately describes the Buddhist complex using ANOTHER example of specific visual

evidence (such as arch

itectural features or imagery).

See above.

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Question 2 (continued)

4 Accurately explains how ONE feature of the complex is typical of the visual traditions of

the region.

 The caves at Longmen continue a tradition of carving on a monumental scale into cliffs

strategic sites along the Silk Road, such as the large Buddhas at Bamiyan.

 The colossal Vairocana Buddha is characteristic of the

graceful, linear Tang style of

Chinese art, its size and opulence appropriately used to represent a cosmic, primordial

Buddha who presides over all others in an infinite Universe. This image of a supreme deity

resonated with the imperial aims of the Tang emperor and marks a distinct change from the

earlier historical, or Shakyamuni, Buddha in its scale and cosmic aura.

 The halo and flaming mandorla carved into the cave wall behind the Vairocana Buddha are

charact

eristic of representations of the supreme being in the Pure Land faith.

 The four guardians are rooted in the Hindu idea of spiritual guardianship and bear traditional

Indian traits

in their clothing, fierce expressions, and agitated poses. Although known as

thunderbolt holders, two the guardian figures are portrayed in a style characteristic of China:

warding off evil with an open hand, rather than carrying an actual thunderbolt (vajra).

 The opulent Fengxian Temple suggests a harmonious paradise associated with the

Chinese

Pure Land belief in the Paradise of the West, while the clear and symmetrical ordering

of the statues recalls a Confucian context.

5 Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions

of the region.

See above.

6 Accurately uses specific contextual evidence to explain how ONE feature of the complex

functioned

to facilitate Buddhist practices.



The caves at Longmen provided a

remote, darkened interior space, removed from the

everyday world, that facilitated meditation and a renunciation of desires associated with

the physical world. They became places of pilgrimage where practitioners believed they would

obtain spiritual (karmic) benefits.



The colossal Vairocana Buddha encouraged meditative practices through his lotus pose

and calm demeanor.



The fierce guardians serve as reminders that one is entering a protected space where the

mind is purified and r

espect deserves to be paid in the form of bowing, prostration, or a gesture

of reverence or gratitude (gassho).



The bodhisattvas and arhats serve to facilitate Buddhist practices by serving as models of

encouragement or inspiration. They postpone Enlightenment so that they can compassionately

assist others in achieving nirvana.



Other Buddhas at Longmen depict the Amitabha, the principal Buddha in the Pure Land sect

who promised a paradise as a reward for those who call upon Amitabha for help by chanting the

Buddha’s name.

7 Accurately uses specific contextual evid

ence to explain how ANOTHER feature of the

complex functioned to facilitate Buddhist practices.

See above.

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Question 2 (continued)

Todai-ji. Nara, Japan. Various artists, including sculptors Unkei and Keikei, as well as the

Kei School. 743

C.E.; rebuilt c. 1700 C.E. Bronze and wood (sculpture); wood with ceramic-tile

roofing (architecture).

1 Selects and completely identifies one Buddhist architectural complex associated with

the expansion of Buddhism in West and Central Asia (500

B.C.E.−1980 C.E.) or South,

East, and Southeast Asia (300

B.C.E.−1980 C.E.). Credit will be given for at least two accurate

identifiers, apart from the designation given in the question prompt, taken from the following list:

 Nara, Japan (Japan is acceptable)

 Daibutsuden

 Unkei, Keikei, or Kei School for the

Nio guardian figures, created c.1203

C.E. (1200s; 13

century acceptable)

 Date: 743

C.E.; rebuilt 12

century and c. 1700 C.E. Also acceptable: a date within 100

years of the original creation (743

C.E.) or 12

century restoration; OR within 50

years of the 1700 restoration

 Materials: bronze and wood (sculpture); wood with ceramic-tile roofing (architecture).

Also acceptable: wood (for the complex as a whole and the Nio guardian figu

res);

bronze (for the Great Buddha)

2 Accurately describes the Buddhist complex using ONE example of specific visual

evidence (such as arch

itectural features or imagery).

 The Great Buddha Hall (Daibutsuden) is an imm

ense wooden temple with seven bays. Its

curving, two-tiered roof is accented with golden sculptured creatures (shibi) intended to protect

the building from fires and ceramic tiles (onigawara) to repel evil spirits. Its weight is supported

by a complex system of bracketing (tokyo).

 The Vairocana Buddha (Daibutsu) is a colossal bronze statue with snail-curl hair,

seated in the

lotus pose, welcoming the viewer with the varada mudra with his left hand and the abhaya

mudra with the right. He sits on an engraved lotus-petal throne and displays the conventional

ushnisha, downcast eyes, and elongated earlobes.

 Two Nio guardian figures are installed in niches within the Great Southern Gate

(

Nandaimon) at the entrance of the complex. These ferocious joined-wood sculptures are

depicted with tense musculature and swirling drapery.

 The complex is surrounded by a park with a large population of free-roaming deer.

3 Accurately describes the Buddhist complex using ANOTHER example of specific visual

evidence (such as arch

itectural features or imagery).

See above.

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Question 2 (continued)

4 Accurately explains how ONE feature of the complex is typical of the visual traditions of

the region.

 The Great Buddha Hall and other structures are

constructed of wood, reflecting the

simplicity and naturalness of Shintoism. The use of wood joints rather than nails in both

building construction and sculpture respects the Shinto belief that natural spirits (kami)

reside within the wood.

 The Vairocana Buddha is depicted on a traditionally monumental scale used to cr

eated

statues of Buddhas for cave dwellings and temples along the Silk Road, such as the Bamiyan

Buddhas and the Longmen Caves.

 The gateways recall the earlier gates (torii) of Shinto tradition in separating secular from sacred

spaces.

 The Nio guardian figures reflect the Kei School of the Kamakura period through their

fierce

expressions, agitated poses, swirling drapery, and pronounced musculature. This style

was popular with the Japanese daimyo and warrior class. They were created with the

traditionally Japanese joined-block technique (yosegi-zukuri).

 The axial layout of the complex, the system of bracketing to support tile roofs, and the

design of

two multistoried pagodas that once stood in the complex all reflect the influence of

Chinese architectural design.

 The surrounding deer park reflects Shinto beliefs that deer should be revered as messengers

of the gods.

5 Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions of the region.

See above.

6 Accurately uses specific contextual evidence to explain how ONE feature of the complex

functioned

to facilitate Buddhist practices.

 The Great Buddha Hall (Daibutsuden) was built on an unpr

ecedented scale to provide spiritual

(karmic) benefits and to promote both national and spiritual unity as center of highly ritualized

ceremonies. Rear support pillars, which have holes through the bottom, function as “healing

pillars” if one is able to squeeze oneself through.

 The Vairocana Buddha is positioned in the h

all to allow for circumambulation. He inspires

meditative practices by his pose and tranquil demeanor, bringing comfort after a recent

plague.

 A statue of Kokuzo, a Buddhist deity, is located behind the Vairocana and is associated with

the length

y reciting of the Morning Star Meditation mantra that has been performed over 1,000

years.

 The fierce guardians serve as reminders that one is entering a protected space where the

mind is purified and respect deserves to be paid in the form of bowing, prostration, or a gesture

of reverence or gratitude.

 Secondary buildings and monastic quarters were used for teaching and the sacred copying

of scriptures

(sutras).

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Question 2 (continued)

7 Accurately uses specific contextual evidence to explain how ANOTHER feature of the

complex functioned to facilitate Buddhist practices.

See above.

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Question 2 (continued)

Buddha. Bamiyan, Afghanistan. Gandharan. c. 400−800

C.E. (destroyed 2001). Cut rock with

plaster and polychrome paint.

1 Selects and completely identifies one Buddhist architectural complex associated with

the expansion of Buddhism in West and Central Asia (500

B.C.E.−1980 C.E.) or South,

East, and Southeast Asia (300

B.C.E.−1980 C.E.). Credit will be given for at least two accurate

identifiers taken from the following list:

 Title: Buddha/Bamiyan Buddhas/Shakyamuni Buddha and Vairocana Buddha

 Bamiyan, Afghanistan (Afghanistan is acceptable)

 Gandharan

 Date: c. 400−800

C.E. Destroyed 2001 C.E. Also acceptable: any date within the original

range OR within 10 years of the destruction, if discussing the destruction.

 Materials: Cut rock with plaster and polychrome paint (cut rock/rock cut is acceptable)

2 Accurately describes the Buddhist complex using ONE example of specific visual

evidence (such as architectural fe

atures or imagery).

 The two large caves each contained a colossal st

atue of Buddha and were visible for miles.

They were carved out of a cliff face and located just west of one of the most treacherous parts of

a trade route on the Silk Road. Other smaller caves existed in the valley as monastic dwellings or

sacred sanctuaries.

 The larger of two Buddhas, which no longer exist, represen

ted the Vairocana Buddha. Its

flowing robes were originally painted red, and its face and hands were covered with copper.

 The smaller of the two Buddhas represented the Shakyamuni Buddha. Its robes were

originall

y painted blue, and its face and hands were also covered with copper. It was also

positioned within the cave in a standing pose with flowing robes.

 A staircase within the cliff was located to the right of the smaller figure. Pilgrims could walk up

to where the Buddha’s shoulder was located and see a vaulted niche with a painting of a sun

god.

3 Accurately describes the Buddhist complex using ANOTHER example of specific visual

evidence (such as arch

itectural features or imagery).

See above.

4 Accurately explains how ONE fe

ature of the complex is typical of the visual traditions of

the region.

 The rock-cut caves became

a feature along the Silk Road to mark sites of special significance

and aided in the expansion of Buddhism. Other sites, such as Longmen, similarly display

groupings of caves with sculptural forms for monastic communities and pilgrims.

 The two colossal Buddhas reflect the Gandharan style that evolved within the area of

present-day Afghanistan and Pakistan along the Silk Road. The style was a blend of Hellenistic

realism and Eastern stylization. The Gandharan style placed particular emphasis on how the

rhythmic drapery reveals the human form.

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Question 2 (continued)

5 Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions of the region.

See above.

6 Accurately uses specific contextual evidence to explain how ONE feature of the complex

functioned

to facilitate Buddhist practices.

 The enormous statues, visible for miles, served as a dramatic reminder for pilgrims and

merchants traveling

along the Silk Road to mindfully engage in Buddhist practices. To enhance

their impact, a 7

century Chinese monk, Xuanzang, describes them as being covered with

metal, color, and gems. Buddhist travelers must have offered gifts of thanks or prayers for safety,

depending on their destinations.

 The feet and the heads of the statues were carved in the r

ound, allowing for the practice of

circumambulation, bringing the devout into harmony with the universe by walking clockwise.

 Numerous caves within the Bamiyan valley were carved out as retreats or sanctuaries for

meditation and daily ritu

als for monks who lived in the complex.

7 Accurately uses spec

ific contextual evidence to explain how ANOTHER feature of the

complex functioned to facilitate Buddhist practices.

See above

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Question 2 (continued)

Borobudur Temple. Central Java, Indonesia. Sailendra Dynasty. c. 750−842

C.E. Volcanic-

stone masonry.

1 Selects and completely identifies one Buddhist architectural complex associated with

the expansion of Buddhism in West and Central Asia (500

B.C.E.−1980 C.E.) or South,

East, and Southeast Asia (300

B.C.E.−1980 C.E.). Credit will be given for at least two accurate

identifiers taken from the following list:

 Title: Borobudur Temple

 Central Java, Indonesia (Indones

ia is acceptable)

 Sailendra Dynasty

 Date: c. 750-842

C.E. Also acceptable: 700s; 800s; 8

century; 9

century; OR a date

within 100 years of the original creation

 Materials: Volcanic-stone masonry (stone is acceptable)

2 Accurately describes the Buddhist complex using ONE example of specific visual

evidence (such as arch

itectural features or imagery).

 Borobudur is a stepped pyramidal temple (

candi

) comprised of multiple ascending open-air

terraces as well as three circular walkways at the top which radiate around a cosmic axis (

axis

mundi

). The shape of the temple has been compared to a stupa, a lotus, and the nearby volcano

Mount Merapi.

 Relief sculptures cover the high walls, which partiall

y enclose the five squared terraces. At the

lowest level, the bas-relief images were covered for centuries by buttresses. They depict the

effects of karma and reinforce the endless cycle of birth, death, and rebirth. The next tiers

illustrate the historical Buddha’s journey to Enlightenment as well as his over 500 past lives.

These are followed by narrative accounts of the lives of bodhisattvas who follow in Buddha’s

footsteps.

 The upper circular levels represent the celestial realm. A bell-shaped stupa crowns the temple

and is surrounded by 72 s

maller stupas. At least some of the stupas, if not all, contained a statue

of Buddha. Over 500 Buddha statues remain within the structure.

 Ornate guardian reliefs of the monster kala mark the gateways to the uppermost level.

3 Accurately describes the Buddhist complex using ANOTHER example of specific visual

evidence (such as architectural fe

atures or imagery).

See above.

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Question 2 (continued)

4 Accurately explains how ONE feature of the complex is typical of the visual traditions of

the region.

 The structure is similar to massive stupas built throughout S

outheast Asia, in that it is ornately

decorated with sculpture and oriented to the cardinal points to form a cosmic diagram of the

universe (mandala).

 Elevated walkways surrounding the structure are a traditional feature found in many stupa

complexes including the Great Stupa at Sanchi.

 The bell-shaped form of the stupas on the uppermost levels demonstrates the evolution of the

stupa’s design as Buddh

ism expanded into Southeast Asia, as opposed the pagoda form that

emerged in China and Japan.

 Images of guardians marking entryways can be found within numerous Buddhist structures

such as the Nio guardian figures at Todai-ji.

5 Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions

of the region.

See above

6 Accurately uses specific contextual evidence to explain how ONE feature of the complex

functioned

to facilitate Buddhist practices.

 The design of the stupa purposefully orients the pilgrim’s path so that the worshipper

experien

ces a journey from the realm of the senses to a new state of Enlightenment. Extensive

circular pathways on multiple levels emphasize the challenges faced by devotees in pursuit of

nirvana. These facilitate an ascension through the Spheres of Desire, Form, and Formlessness.

 Narrative relief sculptures

, depicting the previous lives of Buddha on multiple levels, remind

pilgrims, as they circumambulate the structure, of the karmic cycles of life, death, and rebirth.

The movement around the structure mimics the path of the sun.

 Narrative relief sculptures, depicting the final portion of the Flower Garland Sutra, which

relates the story of th

e youth Suddhana seeking Enlightenment, inspired pilgrims to engage in

the chanting of sutras and mantras as they circumambulate the structure.

7 Accurately uses spec

ific contextual evidence to explain how ANOTHER feature of the

complex functioned to facilitate Buddhist practices.

See above.

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Question 2 (continued)

Ryoan-ji. Kyoto, Japan. Muromachi Period, Japan. c. 1480

C.E., current design most likely

dates to the 18

century. Rock garden.

1 Selects and completely identifies one Buddhist architectural complex associated with

the expansion of Budd

hism in West and Central Asia (500

B.C.E.−1980 C.E.) or South,

East, and Southeast Asia (300

B.C.E.−1980 C.E.). Credit will be given for at least two accurate

identifiers taken from the following list:

 Title: Ryoan-ji

 Kyoto, Japan (Japan is acceptable)

 Muromachi Period

 Date: c. 148

C.E. Also acceptable: late 15

century or any date within 50 years of the

original (15

century is NOT acceptable); current design is 18

century

 Materials: Rock garden/dry garden (rock is NOT acceptable)

2 Accurately describes the Buddhist complex using ONE example of specific visual

evidence (such as arch

itectural features or imagery).

 The rock garden (karesansui) consists of raked gravel and 15

rocks of different sizes grouped

together in clusters of two, three, and five with moss at the base.

 The garden is surrounded on three sides by

low earthen walls and on the remaining side by

the deck or veranda of the abbot’s residence (hojo).

 The original rock garden apparently had a covered corridor running through it in a north-south

direction, wi

th a view of the garden on both left and right, and a gate at the south end.

 The residence (hojo) is divided into six rooms by sliding doors (fusuma).

 A wet garden is also located on the grounds, consisting of a pond, known as the Mirror Pond,

with two small islands, the larger of which has a small bridge leading across to a shrine.

 The grounds also contain a Shinto shrine and several Heian Period imperial tombs and an

early 17

-century teahouse.

3 Accurately describes the Buddhist complex using ANOTHER example of specific visual

evidence (such as arch

itectural features or imagery).

See above.

4 Accurately explains how ONE feature of th

e complex is typical of the visual traditions of

the region.

 Rock gardens emerged as a traditional feature of

Zen Buddhist gardens in Japan. Their

design exemplified the aesthetic quality of wabi-sabi, a concept that emphasizes a blend of

simplicity or naturalness with an appreciation of the appearance of objects as they age.

 The combination of rocks and white sand or gravel

were designed to translate Chinese

Song black ink landscape paintings into three-dimensional compositions. Black ink paintings

featured large areas of negative space similar those occupied by the sand or gravel.

 The surrounding gardens suggest a complementary relationship between Shintoism and

Buddhism

in that they emphasize a spiritual connection with the natural world.

 The open plan and sliding doors (fusuma) of the abbot’s residence (hojo) reflects the refined

taste of tradi

tional Japanese architectural design.

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Question 2 (continued)

5 Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions of the region.

See above.

6 Accurately uses specific contextual evidence to explain how ONE feature of the complex

functioned

to facilitate Buddhist practices.

 The grouping of rocks, interpreted in various ways, reflects aspects of a Zen Buddhist mindset

that appealed to Japanes

e daimyo and samurai by encouraging disciplined meditative practices

that are intended to assist in an individual’s struggle for self-knowledge and against self-ness.

 The white sand or gravel, interpreted in various ways, is maintained by weeding and raking

as a meditative practice.

 The garden is viewed either from the wooden veranda embracing the building or from inside

the room

to facilitate meditation.

 After passing through a main gate visitors encounter the Mirror Pond on their left with a view

of surroundi

ng mountains. This pathway encourages contemplation by fusing together a

Japanese appreciation for nature and the concept of a spiritual journey in Buddhist practice.

7 Accurately uses specific contextual evidence to explain how ANOTHER feature of the

complex functioned to facilitate Buddhist practices.

See above.

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Question 2

Overview

This question asked students to analyze a Buddhist architectural complex from West and Central Asia (500

B.C.E.–1980 C.E.) or South, East, and Southeast Asia (300 B.C.E.–1980 C.E.) in terms of how the work

demonstrates visual traditions of a region. The question listed three options from the required course

content that students could choose from, or they could select another relevant work from the specified

content areas. The intent of the question was to have students demonstrate an ability to situate a work of

architecture within a specific regional context and then to explain how features facilitate practices within

that architectural space. Students had to use visual and contextual evidence to support the explanation.

Sam

ple: 2A

Score: 7

Task 1

: Selects and completely identifies a Buddhist architectural complex associated with

the expansion of Buddhism in West and Central Asia (500

B.C.E.−1980 C.E.) or South, East, and

Southeast Asia (300

B.C.E.−1980 C.E.). (1 point)

The response provides two accurate identifiers for the Great Stupa at Sanchi. The location is correctly

identified as Madhya Pradesh, India, and the material is correctly identified as stone masonry.

Task 2: Accurately describes the Buddhist complex using ONE example of specific visual

evi

dence (such as architectural features or imagery). (1 point)

The response describes the Buddhist complex using one example of specific visual evidence about an

arch

itectural feature: the stupa “is shaped like a hemisphere that portrudes [sic] from the ground, and

features a yasti at the top.”

Task 3: Accurately describes the Buddhist complex using ANOTHER example of specific

sual evidence (such as architectural features or imagery). (1 point)

The response describes the Buddhist complex using another example of specific visual evidence about an

arch

itectural feature: “It is characterized by 4 gates, or toranahs [sic], that are covered with sculptural

reliefs.”

Task 4: Accurately explains how ONE feature of the complex is typical of the visual traditions

of t

he region. (1 point)

The response explains how one feature of the complex is typical of the visual traditions of the region: “In

[B]

uddhist art in India, the [B]uddha is often not shown as a human figure, but as objects. This is shown by

the sculptural reliefs on the gates or toranas,” on which the Buddha is represented “by representational

objects like umbrellas or footprints.” The response further notes that this visual tradition “differs from

[B]uddhist structures in both Japan and China, with the sculptures of [B]uddha in both Todaiji and the

Longmen caves.”

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Question 2 (continued)

Task 5: Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions of the region. (1 point)

The response explains how another feature of the complex is typical of the visual traditions of the region:

“

the shape of the stupa. The stupa itself is supposed to be a reliquary that holds the body of Buddha

himself. The half-dome hemispheric shape of the Great Stupa at Sanchi reflects a burlap mound and is

typical of visual traditions of the region.” The response further observes that the form of the stupa is

“typical of Indian [B]uddhist tradition” in that “[t]he stupa was meant to be a mandala, or a model of the

universe,” with the yasti functioning “to bridge the earth and the heavens.” While not required to earn the

point, the additional evidence enhances the quality of the response.

Task 6: Accurately uses specific contextual evidence to explain how ONE feature of the

omplex functioned to facilitate Buddhist practices. (1 point)

The response uses specific contextual evidence to explain how one feature of the complex functioned to

acilitate Buddhist practices. The response explains, “The shape of the stupa allowed for

circumambulation, which was practiced by [B]uddhists because the process could allow them to achieve a

higher state of being” through “meditation. The circular paths were important to support the Buddhist

practice of circumambulation.”

Task 7: Accurately uses specific contextual evidence to explain how ANOTHER feature of the

omplex functioned to facilitate Buddhist practices. (1 point)

The response uses specific contextual evidence to explain how another feature of the complex functioned

o facilitate Buddhist practices. The response observes how the four toranas are positioned at each of “the

4 cardinal directions and marked of[f] a sacred space beyond the gates. This sacred space created a place

in which believers could go to meditate and better immerse in [B]uddhism.” The response additionally

observes that the relief sculptures carved on the toranas “allowed the [B]uddhists who visited to see a

visual depiction of [B]uddha’s teachings, helping facilitate belief and devotion and supporting the

practice” of the Buddhist faith. While not required to earn the point, the additional evidence about the

carvings on the toranas enhances the quality of the response.

Sample: 2B

Score: 6

sk 1: Selects and completely identifies a Buddhist architectural complex associated with the

expansion of Buddhism in West and Central Asia (500 B.C.E.−1980 C.E.) or South, East, and

Southeast Asia (300 B.C.E.−1980 C.E.). (1 point)

The response provides multiple accurate identifiers for the Longmen Caves. The location is correctly

entified as Luoyang, China; the material is correctly identified as “cut in lim[e]stone”; the most prominent

feature is correctly identified as the Fengxian Temple; and the time period of the Fengxian Temple is

correctly identified as the Tang Dynasty. Only two accurate identifiers were required to earn the point.

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Question 2 (continued)

Task 2: Accurately describes the Buddhist complex using ONE example of specific visual

evidence (such as architectural features or imagery). (1 point)

The response describes the Buddhist complex using one example of specific visual evidence about an

chitectural feature: “The complex contains a Buddha’s sculptures and several guardians figures [sic].”

Although the Fengxian Temple faces the Yi River and not “a great lake,” this error does not detract from the

overall quality of the response, particularly because the Fengxian Temple does face water.

Task 3: Accurately describes the Buddhist complex using ANOTHER example of specific visual

vidence (such as architectural features or imagery). (1 point)

The response describes the Buddhist complex using another example of specific visual evidence about an

chitectural feature: the central Buddha has “chubby and long” earlobes, a “mudra hand gesture,” and an

“upheld hairstyle.” Additionally, the response describes the imagery of the guardian figures: their

“masculinity and strength are evinced in the firm body, warrior like attire, and wide opened round eyes.”

While not required to earn the point, the additional evidence enhances the quality of the response.

Task 4: Accurately explains how ONE feature of the complex is typical of the visual traditions

f the region. (1 point)

The response explains how one feature of the complex is typical of the visual traditions of the region by

oting how the scale of the “grand sculpted Buddha” of the Fengxian Temple was “influenced by the

Bamiyan Buddha … along the Silk road which is also an in situ work of Buddha.” The response further notes

the

visual

tradition

“of sculpting large Buddha

in local cave [sic]” along the Silk Road.

sk 5: Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions of the region. (1 point)

The response explains how another feature of the complex is typical of the visual traditions of the region by

serving how the aggressive masculinity of the guardian figures in the Fengxian Temple is part of a visual

tradition that includes the Nio guardian figures sculpted by Unkei and Keikei at Todai-ji. The response

comments on how the “tightly held hair” that “adds a sense of tension” to the guardian figures is comparable

to the sculptures at Todai-ji. The response further states that the aggressive style of these figures reflects

their creation during the Tang Dynasty. While not required, the additional evidence enhances the quality of

the response.

Task 6: Accurately uses specific contextual evidence to explain how ONE feature of the

omplex functioned to facilitate Buddhist practices. (1 point)

The response uses specific contextual evidence to explain how one feature of the complex functioned to

acilitate Buddhist practices. The response notes how the site of the complex is “tranquil and distance [sic]

from the city,” which enables it to provide a “tranquil and calmy enviroment [sic] for reflection and

[con]templation.” The response notes, “The Buddhist worshippers come to pray, burn incense, contemplate,

instead of performing circumambulation … like that in [the] Stupa at Sanchi,” which is facilitated by the

setting.

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Question 2 (continued)

Task 7: Accurately uses specific contextual evidence to explain how ANOTHER feature of the

complex functioned to facilitate Buddhist practices. (0 points)

No point was earned. The response does not use specific contextual evidence to explain how another feature

the complex functioned to facilitate Buddhist practices. The response makes an attempt by commenting

on the importance in Buddhism of performing “kind deeds” to reach an enlightened state, “to break the cycle

and enter paradise.” To earn the point the response needed to explain how a specific feature of the Fengxian

Temple or the Longmen caves as a whole facilitated this practice of “kind deeds”: for example, how

patronage to the temple was recorded through thousands of inscriptions at the site.

Sample: 2C

Score: 3

Tas

k 1: Selects and completely identifies a Buddhist architectural complex associated with

the expansion of Buddhism in West and Central Asia (500

B.C.E.−1980 C.E.) or South, East, and

Southeast Asia (300

B.C.E.−1980 C.E.). (1 point)

The response provides two accurate identifiers. The title of the work is correctly identified as Borobudur,

and the material is correctly identified as stone. Since Borobudur Temple was not on the list provided, the

title of the work counts as an identifier.

Task 2: Accurately describes the Buddhist complex using ONE example of specific visual

idence (such as architectural features or imagery). (1 point)

The response describes the Buddhist complex using one example of specific visual evidence about an

chitectural feature: Borobudur is “a huge temple,” which is an accurate reference to the complex’s vast

scale.

Task 3: Accurately describes the Buddhist complex using ANOTHER example of specific

visual evidence (such as architectural features or imagery). (1 point)

The response describes the Buddhist complex using another example of specific visual evidence: the

com

plex contains “thousands of Buddha statues all over it.”

Task 4: Accurately explains how ONE feature of the complex is typical of the visual traditions

the region. (0 points)

No point was earned. The response does not explain how one feature of the complex is typical of the visual

raditions of the region. The response makes an attempt by stating that “Buddha statues are a visual

tradition used at many Buddhist temples/monuments.” To earn the point the response needed to explain

more specifically how statues of the Buddha at Borobudur Temple were shaped in a fashion typical of the

region: for example, some statues at Borobudur Temple are shown inside stupas, referencing the

importance of the visual tradition of stupas in the region.

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Question 2 (continued)

Task 5: Accurately explains how ANOTHER feature of the complex is typical of the visual

traditions of the region. (0 points)

No point was earned. The response does not explain how another feature of the complex is typical of the

sual traditions of the region.

Task 6: Accurately uses specific contextual evidence to explain how ONE feature of the

omplex functioned to facilitate Buddhist practices. (0 points)

No point was earned. The response does not use specific contextual evidence to explain how one feature

the complex functioned to facilitate Buddhist practices. The response makes an attempt by stating that

“Buddha statues represent Buddha so followers can worship the statues and find peace in the presence of

them.” To earn the point the response needed to provide more specific contextual evidence about the

particular type of Buddhist worship practiced at Borobudur Temple: for example, how representations of

the Buddha change as pilgrims journey through the different levels of the temple, with the different

representations of the Buddha expressing different stages of Enlightenment.

Task 7: Accurately uses specific contextual evidence to explain how ANOTHER feature of the

omplex functioned to facilitate Buddhist practices. (0 points)

No point was earned. The response does not use specific contextual evidence to explain how another

eature of the complex functioned to facilitate Buddhist practices.

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