1. What do you call the impostant route to China?
a. Burma
b. Champa
c. Tai
d. Tibeto
2. Which of the following has no affinity with Southeast Asian arts?
a. Burmese Art
b. Islamic Art
c. Tai art
d. Vietnam art
3. which of the following showed very little chinese influence?
a. burmese art
b. indian art
c. tai art
d. vietnam art
4. what do you think the essential differences in aesthetic aim and style between the arts of east asia and those of southeast asia?
a. Could be seen in the contrast between the Emperor's tombs of Vietnam and Temple-tombs of Cambodia and Indonesia
b. the opulent and dignified buddha images of Vietnam and the ascetic and graceful buddha images of Cambodia and burma
c. both a and b
d. none of the above
5. Why do you think Southeast asian artworks influenced the historical and cultural phenomena in the world of art?
a. because the distinct characteristics of their art works are reflected in the wide array of superb textile, crafts architecture ceramics, woodcarving and leatherwork
b. because of the distinct characteristics of their cultures and traditions
c. both a and b
d. none of the above
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Answer:
From the point of view of its “classical” literatures, Southeast Asia can be divided into three major regions: (1) the Sanskrit region of Cambodia and Indonesia; (2) the region of Burma where Pali, a dialect related to Sanskrit, was used as a literary and religious language; and (3) the Chinese region of Vietnam.
There are no examples of Chinese literature written in Vietnam while it was under Chinese rule (111 BC–AD 939); there are only scattered examples of Sanskrit inscriptions written in Cambodia and Indonesia; yet most of the literary works produced at the court of Pagan in Burma (flourished c. 1049–1300) have survived because the texts were copied and recopied by monks and students. But in the 14th–15th centuries, vernacular literatures suddenly emerged in Burma and Java, and a “national” literature appeared in Vietnam. The reasons behind the development of each were the same: a feeling of nationalistic pride at the final defeat of Kublai Khan’s invasions, the desire of the people to find solace in literature amidst change and struggles for power, and the lack of wealth and patronage to channel artistic expression into building temples and tombs. In Vietnam and Java literary activity centred on the courts; but in Burma the first writers were the monks and, later, the laymen educated in their monasteries. In the new Burmese kingdom of Ava (flourished after 1364), the Shan kings were proud of their Burmese Buddhist culture, and they appointed the new writers into royal service, with the result that courtiers became writers also. The Tai kings of Laos and Siam led their courts in learning Pali from the Mon, whom they had conquered, and Sanskrit from the Khmer, whom they harassed; nevertheless, seized with national pride and influenced by the Burmese example, they developed their own vernacular literature. But Cambodia itself declined. Although the monks in the Theravada Buddhist (i.e., the Southeast Asian form of Buddhism) monasteries produced a few works in Pali, no vernacular literature emerged until finally Khmer-speaking people (those living in the area comprised approximately of modern Cambodia) were borrowing many words from the Tai.
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