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A cult image is defined as any human-made object with a religious purpose, subject, or connection, encompassing all types of religious imagery.
Answer: False
Explanation: The definition provided is too broad; a cult image is specifically the most important image within a temple, serving as a focal point for veneration, distinct from a general religious image.
The term 'idol' originated directly from the Greek word *eidos*, meaning 'perfect, immutable form,' as used by Plato.
Answer: False
Explanation: The word 'idol' derives from the Old French *idole*, adapted from the Greek *eidolon*, meaning 'appearance' or 'mental image,' which is a diminutive of *eidos*.
What is the primary characteristic that distinguishes a 'cult image' from a broader 'religious image'?
Answer: A cult image is the most important image within a temple, typically kept in an inner sanctuary.
Explanation: While all cult images are religious images, a cult image is specifically defined as the most significant image within a temple, serving as a primary focus of veneration, often located in an inner sanctuary.
Which of the following best defines an 'idol' according to the source?
Answer: An image or representation of a god that is used as an object of worship.
Explanation: An 'idol' is defined as an image or representation of a god that serves as a direct object of worship, implying a misdirection of ultimate reverence.
What is the etymological origin of the word 'idol'?
Answer: From the Old French *idole*, adapted from the Greek *eidolon*, meaning 'appearance' or 'mental image'.
Explanation: The term 'idol' originates from the Old French *idole*, which itself was derived from the Greek *eidolon*, meaning 'appearance' or 'mental image,' a diminutive of *eidos*.
What is the fundamental definition of a cult image in religious practice?
Answer: A human-made object venerated or worshipped because it embodies or represents a deity.
Explanation: A cult image is fundamentally defined as a human-made object that is venerated or worshipped due to its perceived embodiment or representation of a deity, spirit, or daemon.
What is the definition of 'idolatry'?
Answer: The act of worshipping an idol as though it were God itself.
Explanation: Idolatry is precisely defined as the act of worshipping an idol, treating it as if it were the divine itself, thereby misdirecting ultimate reverence.
In ancient Egyptian temples, only the pharaoh was permitted access to the inner sanctuary where the primary cult images resided.
Answer: False
Explanation: In ancient Egyptian temples, access to the inner sanctuary where primary cult images resided was typically restricted to priests, not exclusively the pharaoh.
During Akhenaten's reign, Aten was represented in Amarna art as a human-like figure with a sun-disk halo.
Answer: False
Explanation: During Akhenaten's reign, Aten was represented solely as the sun-disk, with rays emanating from it, sometimes ending in hands, rather than a human-like figure.
The *Athena Parthenos* statue in Nashville, Tennessee, is the original ancient Greek cult image, preserved and displayed at its original size.
Answer: False
Explanation: The *Athena Parthenos* statue in Nashville, Tennessee, is a modern reproduction, displayed at the original size, as the ancient Greek original is completely lost.
In ancient Greek and Roman temples, sacrifices to the deity were typically performed inside the *cella* where the cult image was housed.
Answer: False
Explanation: Sacrifices to deities in ancient Greek and Roman temples were typically performed on altars located outside in the temple precinct, not inside the *cella*.
*Chryselephantine* statues were a prestigious form of Greek cult image, using marble for visible body parts and bronze for clothing.
Answer: False
Explanation: *Chryselephantine* statues utilized ivory plaques for visible body parts and gold for clothing, constructed around a wooden framework, not marble and bronze.
The Ancient Near East generally had a similar use of images to ancient Egyptian religion, with temples housing cult images and numerous other images.
Answer: True
Explanation: The use of images in the Ancient Near East was generally comparable to ancient Egyptian religious practices, with temples typically containing a primary cult image and many other images.
A 'palladium' in Greek and Roman mythology was an image upon which the safety of a city was believed to depend.
Answer: True
Explanation: In Greek and Roman mythology, a 'palladium' was a revered image believed to safeguard a city, with its presence being crucial for the city's protection.
In ancient Egyptian homes, the large stone images found around temple exteriors were commonly kept by ordinary people.
Answer: False
Explanation: The large stone images found around ancient Egyptian temple exteriors typically represented the pharaoh or deities and were not commonly kept in ordinary homes.
An *acrolith* was a composite Greek statue form featuring a wooden body with marble or stone for the head, hands, and feet.
Answer: True
Explanation: An *acrolith* was a Greek composite statue, characterized by a wooden body combined with marble or stone for the head, hands, and feet, often used for cost efficiency.
In ancient Egyptian temples, who was typically granted access to the inner sanctuary where the primary cult images resided?
Answer: Only priests
Explanation: Access to the inner sanctuary of ancient Egyptian temples, where the primary cult images were housed, was generally restricted to priests.
How was Aten represented in the art of Amarna during Akhenaten's reign in Egypt?
Answer: As the sun-disk, from which rays emanated, sometimes ending in hands
Explanation: During Akhenaten's reign, Aten was uniquely represented in Amarna art as the sun-disk, with its rays terminating in hands, symbolizing its life-giving power.
Where were sacrifices to deities typically performed in ancient Greek and Roman temples?
Answer: On altars located outside in the temple precinct
Explanation: In ancient Greek and Roman religious practice, sacrifices to deities were customarily conducted on altars situated in the outdoor temple precinct, known as the *temenos*.
What materials were used for the visible body parts and clothing in a *Chryselephantine* cult statue?
Answer: Ivory plaques for visible body parts and gold for clothing
Explanation: *Chryselephantine* statues, a prestigious form of Greek cult image, were constructed using ivory plaques for the visible skin and gold for the drapery, typically over a wooden core.
Which of the following is an example of a 'palladium' in Greek and Roman mythology?
Answer: An image upon which the safety of a city was said to depend, like the one stolen from Troy.
Explanation: A 'palladium' in Greek and Roman mythology refers to an ancient image believed to be crucial for the protection and safety of a city, such as the legendary one from Troy.
What was the primary function of the very large stone images found around the exteriors of ancient Egyptian temples?
Answer: To represent the pharaoh, either as himself or as a deity.
Explanation: The colossal stone images adorning the exteriors of ancient Egyptian temples primarily served to represent the pharaoh, often depicted as a deity or in a divine role.
What was an *acrolith* in the context of ancient Greek sculpture?
Answer: A composite statue with a wooden body and marble or stone for the head, hands, and feet.
Explanation: An *acrolith* in ancient Greek sculpture was a composite form, featuring a wooden core for the body, with the head, hands, and feet crafted from marble or stone.
In several ancient religious traditions and Hinduism, what daily routine might cult images housed in temples undergo?
Answer: Being washed, dressed, and having food left for them.
Explanation: In various ancient religious traditions, including Hinduism, cult images housed in temples often undergo daily rituals such as being washed, dressed, and receiving food offerings.
The ancient Hebrew religion was unique among its contemporaries for its aniconic approach, rejecting cult images despite developing monotheism.
Answer: True
Explanation: The ancient Hebrew religion distinguished itself by adopting an aniconic stance, rejecting cult images even as it developed monotheistic beliefs, a practice unique among many contemporary religions.
The *Libri Carolini* established the Catholic position on image veneration, giving images a similar, but slightly less significant, place than in Eastern Orthodoxy.
Answer: True
Explanation: The *Libri Carolini* defined the Catholic stance on image veneration, positioning it with a slightly lesser emphasis compared to Eastern Orthodoxy, yet affirming its role.
The Protestant Reformation led to widespread destruction of religious images, particularly three-dimensional ones, across various European regions.
Answer: True
Explanation: The Protestant Reformation instigated significant iconoclasm across Europe, resulting in the widespread destruction of religious images, especially three-dimensional representations of the Virgin Mary and saints.
Judaism permits physical depictions of God as long as they are not worshipped, but strictly forbids cult images.
Answer: False
Explanation: Judaism is aniconic and strictly disallows any physical depiction of God whatsoever, extending this prohibition to cult images.
In the Mishnah and Talmud, kissing or embracing an idol is considered a form of idolatry *per se*.
Answer: False
Explanation: While forbidden, kissing or embracing an idol was not considered idolatry *per se* in the Mishnah and Talmud, which reserved that classification for specific acts of worship.
Catholic and Eastern Orthodox Christians make a distinction between 'veneration' of icons and 'worship,' reserving adoration for God alone.
Answer: True
Explanation: Catholic and Eastern Orthodox Christians explicitly distinguish between the 'veneration' of icons and 'worship' (*latria*), reserving adoration exclusively for God.
Charlemagne's placement of a life-size crucifix in the Palatine Chapel in Aachen was a significant moment for the introduction of monumental sculpture in Western Christianity.
Answer: True
Explanation: Charlemagne's installation of a life-size crucifix in the Palatine Chapel at Aachen marked a pivotal moment for the integration of monumental sculpture into Western Christian art.
Many Christians historically believed that idols were merely symbolic statues and did not possess any spiritual power.
Answer: False
Explanation: Historically, many Christians held the belief that idols were not inert symbols but were inhabited by demons, through whom influence could be exerted.
In pre-Islamic Mecca, the Kaaba was controlled by pagan merchants who used it to foster trade and intertribal relations by housing idols.
Answer: True
Explanation: During the pre-Islamic era, pagan merchants in Mecca controlled the Kaaba, housing idols within it to facilitate trade and intertribal relations, thereby accumulating wealth.
After conquering Mecca, Muhammad ordered the preservation of some idols in the Kaaba as historical artifacts.
Answer: False
Explanation: Upon conquering Mecca in 630, Muhammad ordered the complete removal and destruction of all idols within the Kaaba, signifying the end of *Jahiliyyah*.
The Book of Isaiah expressed a paradox by noting that people worshipped idols made by their own hands.
Answer: True
Explanation: The Book of Isaiah famously articulates the paradox of cult image worship by observing that people venerate objects that are the product of their own hands.
The *Beeldenstorm* refers to the Counter-Reformation renewal of venerable imagery in Catholic regions.
Answer: False
Explanation: The *Beeldenstorm* refers to the widespread destruction of religious images during the Protestant Reformation in the Low Countries, not a renewal of imagery.
The *Catechism of the Catholic Church* states that the honor rendered to an image passes to its prototype, distinguishing veneration from adoration.
Answer: True
Explanation: The *Catechism of the Catholic Church* clarifies that the veneration of images is not idolatry, as the honor given to an image is directed towards the person it represents, distinguishing it from adoration due to God alone.
Which ancient religion was an exception among its contemporaries for rejecting cult images despite developing monotheism?
Answer: Ancient Hebrew religion
Explanation: The ancient Hebrew religion stood out among its contemporaries by adopting an aniconic approach, rejecting cult images even as it developed monotheistic beliefs.
What was the primary purpose of the *Libri Carolini* in shaping the Catholic position on image veneration?
Answer: To establish the Catholic position on image veneration, giving it a slightly less significant place than in Eastern Orthodoxy.
Explanation: The *Libri Carolini* articulated the Catholic Church's doctrine on image veneration, distinguishing it from adoration and assigning it a role of respectful reverence, distinct from the Eastern Orthodox emphasis.
Which historical event led to widespread destruction of religious images, particularly three-dimensional ones, across various European regions in the 16th century?
Answer: The Protestant Reformation
Explanation: The Protestant Reformation in the 16th century triggered extensive iconoclasm across Europe, leading to the systematic destruction of religious images, especially three-dimensional representations.
What paradox regarding cult images was highlighted in the Book of Isaiah?
Answer: The paradox of worshipping objects created by human hands.
Explanation: The Book of Isaiah famously articulates the paradox of cult image worship by observing that people venerate objects that are the product of their own hands.
What was the significance of Charlemagne's placement of a life-size crucifix in the Palatine Chapel in Aachen?
Answer: It was a decisive moment for the introduction of monumental sculpture in Western Christianity.
Explanation: Charlemagne's act of placing a life-size crucifix in the Palatine Chapel in Aachen was a pivotal event, marking the significant introduction of monumental sculpture into Western Christian art.
What was a common belief among many Christians regarding idols?
Answer: Idols were inhabited by demons who could exercise influence through them.
Explanation: Many Christians historically held the belief that idols were not inert objects but were inhabited by demons, through whom influence could be exerted.
What actions did Muhammad take regarding the idols in the Kaaba after the conquest of Mecca in 630?
Answer: He threw out and destroyed the idols.
Explanation: Following the conquest of Mecca in 630, Muhammad, accompanied by his companions, systematically removed and destroyed all idols within the Kaaba, symbolizing the eradication of pre-Islamic paganism.
What is Judaism's stance on any physical depiction of God?
Answer: It is strictly disallowed as part of its aniconic approach.
Explanation: Judaism maintains a strict aniconic stance, unequivocally disallowing any physical depiction of God, considering it a grave transgression against its core tenets.
According to the *Catechism of the Catholic Church*, how is the veneration of images reconciled with the first commandment against idols?
Answer: The honor rendered to an image passes to its prototype, and it is respectful veneration, not adoration due to God alone.
Explanation: The *Catechism of the Catholic Church* clarifies that the veneration of images is permissible because the honor given to the image is directed to the person it represents, constituting respectful veneration rather than the adoration reserved for God alone.
In pre-Islamic Mecca (*al-Jahiliyah*), who controlled the sacred Kaaba and benefited from the placement of idols within it?
Answer: Pagan or pre-Islamic merchants.
Explanation: During the pre-Islamic era, pagan merchants in Mecca controlled the Kaaba, utilizing the presence of idols to foster trade and intertribal relations, thereby accruing significant wealth.
What was the primary reason for the widespread destruction of icons during the English Civil War?
Answer: The belief that icons were anathema to Puritans.
Explanation: During the English Civil War, the widespread destruction of icons was largely driven by the Puritan belief that such images were anathema and constituted idolatry.
How did Catholic regions respond to the iconoclasm of the Reformation?
Answer: With a Counter-Reformation renewal of venerable imagery, including new shrines for miraculous icons.
Explanation: Catholic regions responded to the iconoclasm of the Reformation with a Counter-Reformation movement that revitalized venerable imagery, leading to the creation of new shrines and a flourishing of Marian devotion.
In Hinduism, a *murti* is considered suitable for worship immediately after its creation, regardless of further rituals.
Answer: False
Explanation: In Hinduism, a *murti* becomes suitable for divine worship only after the divine is invoked within it through specific rituals, and its depiction adheres to traditional religious proportions.
Jainism teaches that *Tirthankara* images can respond to veneration and directly grant blessings to worshippers.
Answer: False
Explanation: Jains believe that *Tirthankara* images are merely representations and cannot respond to veneration or grant blessings; they serve primarily as meditative aids.
Early Buddhism frequently used direct, anthropomorphic representations of the Buddha in its altars and prayer areas.
Answer: False
Explanation: Early Buddhism avoided direct anthropomorphic representations of the Buddha, instead using symbols or an empty space to signify his presence.
The *dharma wheel* in Buddhism primarily symbolizes the cyclical nature of life and the eight-step path to Nirvana.
Answer: True
Explanation: The *dharma wheel* in Buddhism symbolizes the Buddha's teachings, including the eight-step path to Nirvana, and the cyclical nature of life and reincarnation.
In Shinto, the earliest *shintai* were exclusively man-made objects like swords and jewels.
Answer: False
Explanation: The earliest historical examples of *shintai* in Shinto were natural objects such as stones, waterfalls, trees, or mountains.
The *kanjō* ceremony in Shinto allows for the propagation of a *kami*'s essence into multiple *shintai* simultaneously.
Answer: True
Explanation: The *kanjō* ceremony is a Shinto ritual designed to propagate the essence of a *kami* into additional *shintai*, enabling the deity to be enshrined in multiple locations.
In Hindu temples, the *garbhagriha* is typically accessible to all worshippers for direct interaction with the deity image.
Answer: False
Explanation: In Hindu temples, the *garbhagriha* (inner shrine) is typically accessible only to priests, though worshippers may view the deity image from the *mandapa*.
Buddhist idols from Theravada Buddhism are commonly thicker and have a more dignified face compared to those from Mahayana Buddhism.
Answer: False
Explanation: Buddhist idols from Theravada Buddhism are typically slim and majestic, whereas those from Mahayana Buddhism are often thicker with a more dignified and nonchalant expression.
*Shintai* in Shinto are considered to be the *kami* (spirits) themselves, rather than temporary repositories.
Answer: False
Explanation: *Shintai* in Shinto are understood as temporary repositories where the essence of *kami* can reside to be accessible for human worship, not as the *kami* themselves.
The *garbhagriha* in a Hindu temple always contains an elaborate statue, never a symbolic *lingam*.
Answer: False
Explanation: The *garbhagriha* of a Hindu temple may contain an elaborate statue, but it very commonly houses a symbolic *lingam*, *yoni*, or other symbolic forms.
The *dharma wheel* in Buddhism is a symbol that represents the Buddha's teachings and the cyclical nature of life.
Answer: True
Explanation: The *dharma wheel* is a central Buddhist symbol representing the Buddha's teachings, including the eight-step path to Nirvana, and the cyclical nature of existence.
According to Hinduism, what makes a *murti* suitable for serving as a focus of divine worship?
Answer: The invocation of the divine within it for the purpose of worship, and its adherence to religious proportions.
Explanation: In Hinduism, a *murti* becomes a suitable focus for divine worship only after the divine essence is invoked within it through ritual, and its form adheres to prescribed religious proportions and gestures.
What is the Jain belief regarding the *Tirthankara* image itself?
Answer: The image is merely a representation and cannot respond to veneration.
Explanation: Jainism teaches that *Tirthankara* images are symbolic representations and do not possess the ability to respond to veneration; their primary function is as aids for meditation and reflection.
How did very early Buddhism typically represent the Buddha?
Answer: By symbols or an empty space.
Explanation: In its nascent stages, Buddhism typically represented the Buddha aniconically, using symbols such as the Bodhi tree or an empty space, rather than direct anthropomorphic depictions.
What does the *dharma wheel* in Buddhism primarily symbolize?
Answer: The Buddha's teachings and the cyclical nature of life.
Explanation: The *dharma wheel* is a profound Buddhist symbol representing the entirety of the Buddha's teachings, including the path to Nirvana, and the cyclical nature of existence and reincarnation.
What were the earliest historical examples of *shintai* in Shinto?
Answer: Natural objects like stones, waterfalls, trees, or mountains.
Explanation: The earliest forms of *shintai* in Shinto were natural elements such as stones, waterfalls, trees, or mountains, which were believed to be temporary abodes for *kami*.
What is the purpose of the *kanjō* ceremony in Shinto?
Answer: To propagate the essence of a *kami* into another *shintai*, allowing the deity to be enshrined in multiple shrines.
Explanation: The *kanjō* ceremony in Shinto is a ritual designed to transfer the essence of a *kami* into a new *shintai*, thereby enabling the deity to be venerated in multiple shrines concurrently.
What is the *garbhagriha* in a Hindu temple?
Answer: The inner shrine containing the image of the deity.
Explanation: The *garbhagriha* is the innermost sanctuary of a Hindu temple, housing the primary image or symbol of the deity, often accessible only to priests.
How do Buddhist idols from Theravada Buddhism generally differ from those of Mahayana Buddhism?
Answer: Theravada idols are commonly slim and majestic, while Mahayana are usually thicker with a more dignified face.
Explanation: Theravada Buddhist idols are typically characterized by a slim and majestic form, whereas Mahayana idols often present a thicker build with a more dignified and nonchalant facial expression.
In Shinto, how are *shintai* understood in relation to the *kami* (spirits)?
Answer: *Shintai* are repositories in which the essence of *kami* can temporarily reside.
Explanation: In Shinto, *shintai* are not the *kami* themselves but are regarded as temporary vessels or repositories where the essence of the *kami* can reside, making them accessible for human veneration.
What is the meaning of *murti* in Hinduism?
Answer: An image that expresses a Divine Spirit, literally meaning 'embodiment.'
Explanation: In Hinduism, a *murti* refers to an image that embodies or expresses a Divine Spirit, serving as a tangible form through which divinity can be worshipped.
The *Seated Woman of Çatalhöyük* is an ancient figurine discovered at a Neolithic site.
Answer: True
Explanation: The *Seated Woman of Çatalhöyük* is indeed an ancient figurine, discovered at the Neolithic archaeological site of Çatalhöyük.
The *Guatimac* is identified as a Guanche idol from the indigenous people of the Canary Islands.
Answer: True
Explanation: The *Guatimac* is indeed recognized as a Guanche idol, an artifact from the indigenous population of the Canary Islands.
The *Tian Tan Buddha* is a large bronze statue of Buddha Shakyamuni located in Japan.
Answer: False
Explanation: The *Tian Tan Buddha* is a large bronze statue of Buddha Shakyamuni located on Lantau Island, Hong Kong, not Japan.
*Maximón* is identified as a Hindu deity revered in parts of India.
Answer: False
Explanation: *Maximón* is identified as a Maya god, revered by some indigenous communities in Guatemala, not a Hindu deity.
The *Seated Woman of Çatalhöyük* is a modern reproduction of an ancient figurine.
Answer: False
Explanation: The *Seated Woman of Çatalhöyük* is an actual ancient figurine discovered at a Neolithic site, not a modern reproduction.
What does the image of the *Seated Woman of Çatalhöyük* represent in the gallery?
Answer: An ancient figurine discovered at a Neolithic site.
Explanation: The *Seated Woman of Çatalhöyük* is an ancient figurine, a significant archaeological find from a Neolithic site, representing early human artistic and possibly religious expression.
Which Hindu goddess is featured in one of the gallery images, known for her strength and protective qualities?
Answer: Durga
Explanation: The Hindu goddess Durga, renowned for her strength and protective attributes, is featured in one of the gallery images.
What is the *Tian Tan Buddha*?
Answer: A large bronze statue of Buddha Shakyamuni on Lantau Island, Hong Kong.
Explanation: The *Tian Tan Buddha* is a monumental bronze statue of Buddha Shakyamuni, prominently located on Lantau Island, Hong Kong.
What is *Maximón* identified as in the gallery?
Answer: A Maya god.
Explanation: *Maximón* is identified as a Maya god, a revered figure in some indigenous communities of Guatemala.
What type of African artifact is shown in the gallery from the Indianapolis Museum of Art?
Answer: A Songye power figure.
Explanation: The gallery features a Songye power figure, an African artifact from the Indianapolis Museum of Art, significant for its cultural and spiritual importance.