托福真题3及答案解析.doc
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1、托福真题 3及答案解析(总分:120.00,做题时间:90 分钟)一、READING(总题数:3,分数:42.00)Directions : Read the passage. Then answer the questions. Give yourself 20 minutes to complete this practice set. ANCIENT EGYPTIAN SCULPTUREIn order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyp
2、tians“ view of the world and the functions and contexts of the formal art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive form
3、s. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists see
4、m to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which th
5、ey were producing their art. The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowl
6、edge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decora
7、tive effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in f
8、ront of it, so that the living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. Other statues were des
9、igned to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context. Statues were no
10、rmally made of stone, wood, or metal. Stone statues were worked from single rectangular blocks of material and retained the compactness of the original shape. The stone between the arms and the body and between the legs in standing figures or the legs and the seat in seated ones was not normally cut
11、 away. From a practical aspect this protected the figures against breakage and psychologically gives the images a sense of strength and power, usually enhanced by a supporting back pillar. By contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finis
12、hed work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by the lost wax process 1 . The arms could be held away from the body and carry separate items in their hands; there is no back pillar. The effect is altogether lighter and freer than that achieved in s
13、tone, but because both perform the same function, formal wooden and metal statues still display frontality. Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figur
14、es, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figu
15、res depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks. lost wax process 1 : an ancient method of casting using a wax model and clay mold(分数:14.00)(1).PAR
16、AGRAPH 1 In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians“ view of the world and the functions and contexts of the formal art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fa
17、il to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop scu
18、lpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a l
19、ack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art. The word “ vital “ in the passage is closest in meaning to(分数:1.00)A.attractiveB.essentialC.usualD.practical(2).Paragraph 1 suggests that one reason ancient Egy
20、ptian art has been viewed less favorably than other art is that ancient Egyptian art lacks(分数:1.00)A.a realistic sense of human body proportionB.a focus on distinctive forms of varying sizesC.the originality of European artD.examples of formal art that show the human body in motion(3).In paragraph 1
21、, the author mentions all of the following as necessary in appreciating Egyptian art EXCEPT an understanding of(分数:1.00)A.the reasons why the art was madeB.the nature of aristocratic Egyptian beliefsC.the influences of Egyptian art on later art such as classical Greek artD.how the art was used(4).PA
22、RAGRAPH 2 The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their funct
23、ion, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to
24、play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that
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