托福TPO10閱讀原文及答案解析Part1
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托福TPO10閱讀原文Part1
Chinese Pottery
China has one of the world's oldest continuous civilizations-despite invasions and occasional foreign rule. A country as vast as China with so long-lasting a civilization has a complex social and visual history, within which pottery and porcelain play a major role.
The function and status of ceramics in China varied from dynasty to dynasty, so they may be utilitarian, burial, trade-collectors', or even ritual objects, according to their quality and the era in which they were made. The ceramics fall into three broad types-earthenware, stoneware, and porcelain-for vessels, architectural items such as roof tiles, and modeled objects and figures. In addition, there was an important group of sculptures made for religious use, the majority of which were produced in earthenware.
The earliest ceramics were fired to earthenware temperatures, but as early as the fifteenth century B.C., high-temperature stonewares were being made with glazed surfaces. During the Six Dynasties period (AD 265-589), kilns in north China were producing high-fired ceramics of good quality. Whitewares produced in Hebei and Henan provinces from the seventh to the tenth centuries evolved into the highly prized porcelains of the Song dynasty (AD. 960-1279), long regarded as one of the high points in the history of China's ceramic industry. The tradition of religious sculpture extends over most historical periods but is less clearly delineated than that of stonewares or porcelains, for it embraces the old custom of earthenware burial ceramics with later religious images and architectural ornament. Ceramic products also include lead-glazed tomb models of the Han dynasty, three-color lead-glazed vessels and figures of the Tang dynasty, and Ming three-color temple ornaments, in which the motifs were outlined in a raised trail of slip-as well as the many burial ceramics produced in imitation of vessels made in materials of higher intrinsic value.
Trade between the West and the settled and prosperous Chinese dynasties introduced new forms and different technologies. One of the most far-reaching examples is the impact of the fine ninth-century AD. Chinese porcelain wares imported into the Arab world. So admired were these pieces that they encouraged the development of earthenware made in imitation of porcelain and instigated research into the method of their manufacture. From the Middle East the Chinese acquired a blue pigment-a purified form of cobalt oxide unobtainable at that time in China-that contained only a low level of manganese. Cobalt ores found in China have a high manganese content, which produces a more muted blue-gray color. In the seventeenth century, the trading activities of the Dutch East India Company resulted in vast quantities of decorated Chinese porcelain being brought to Europe, which stimulated and influenced the work of a wide variety of wares, notably Delft. The Chinese themselves adapted many specific vessel forms from the West, such as bottles with long spouts, and designed a range of decorative patterns especially for the European market.
Just as painted designs on Greek pots may seem today to be purely decorative, whereas in fact they were carefully and precisely worked out so that at the time, their meaning was clear, so it is with Chinese pots. To twentieth-century eyes, Chinese pottery may appear merely decorative, yet to the Chinese the form of each object and its adornment had meaning and significance. The dragon represented the emperor, and the phoenix, the empress; the pomegranate indicated fertility, and a pair of fish, happiness; mandarin ducks stood for wedded bliss; the pine tree, peach, and crane are emblems of long life; and fish leaping from waves indicated success in the civil service examinations. Only when European decorative themes were introduced did these meanings become obscured or even lost.
From early times pots were used in both religious and secular contexts. The imperial court commissioned work and in the Yuan dynasty (A.D. 1279-1368) an imperial ceramic factory was established at Jingdezhen. Pots played an important part in some religious ceremonies. Long and often lyrical descriptions of the different types of ware exist that assist in classifying pots, although these sometimes confuse an already large and complicated picture.
Paragraph 2: The function and status of ceramics in China varied from dynasty to dynasty, so they may be utilitarian, burial, trade-collectors', or even ritual objects, according to their quality and the era in which they were made. The ceramics fall into three broad types-earthenware, stoneware, and porcelain-for vessels, architectural items such as roof tiles, and modeled objects and figures. In addition, there was an important group of sculptures made for religious use, the majority of which were produced in earthenware.
托福TPO10閱讀題目Part1
1.The word "status" in the passage is closest in meaning to
○ origin
○ importance
○ quality
○ design
2. According to paragraph 2, which of the following is true of Chinese ceramics?
○ The function of ceramics remained the same from dynasty to dynasty.
○ The use of ceramics as trade objects is better documented than the use of ceramics as ritual objects.
○ There was little variation in quality for any type of ceramics over time.
○ Some religious sculptures were made using the earthenware type of ceramics.
Paragraph 3: The earliest ceramics were fired to earthenware temperatures, but as early as the fifteenth century B.C., high-temperature stonewares were being made with glazed surfaces. During the Six Dynasties period (AD 265-589), kilns in north China were producing high-fired ceramics of good quality. Whitewares produced in Hebei and Henan provinces from the seventh to the tenth centuries evolved into the highly prized porcelains of the Song dynasty (AD. 960-1279), long regarded as one of the high points in the history of China's ceramic industry. The tradition of religious sculpture extends over most historical periods but is less clearly delineated than that of stonewares or porcelains, for it embraces the old custom of earthenware burial ceramics with later religious images and architectural ornament. Ceramic products also include lead-glazed tomb models of the Han dynasty, three-color lead-glazed vessels and figures of the Tang dynasty, and Ming three-color temple ornaments, in which the motifs were outlined in a raised trail of slip-as well as the many burial ceramics produced in imitation of vessels made in materials of higher intrinsic value.
3. The word "evolve" in the passage is closest in meaning to
○ divided
○ extended
○ developed
○ vanished
4. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.
○ While stonewares and porcelains are found throughout most historical periods, religious sculpture is limited to the ancient period.
○ Religious sculpture was created in most periods, but its history is less clear than that of stonewares or porcelains because some old forms continued to be used even when new ones were developed.
○ While stonewares and porcelains changed throughout history, religious sculpture remained uniform in form and use.
○ The historical development of religious sculpture is relatively unclear because religious sculptures sometimes resemble earthenware architectural ornaments.
5. Paragraph 3 supports all of the following concerning the history of the ceramic industry in China EXCEPT:
○ The earliest high-fired ceramics were of poor quality.
○ Ceramics produced during the Tang and Ming dynasties sometimes incorporated multiple colors.
○ Earthenware ceramics were produced in China before stonewares were.
○ The Song dynasty period was notable for the production of high quality porcelain ceramics.
Paragraph 4: Trade between the West and the settled and prosperous Chinese dynasties introduced new forms and different technologies. One of the most far-reaching examples is the impact of the fine ninth-century AD. Chinese porcelain wares imported into the Arab world. So admired were these pieces that they encouraged the development of earthenware made in imitation of porcelain and instigated research into the method of their manufacture. From the Middle East the Chinese acquired a blue pigment-a purified form of cobalt oxide unobtainable at that time in China-that contained only a low level of manganese. Cobalt ores found in China have a high manganese content, which produces a more muted blue-gray color. In the seventeenth century, the trading activities of the Dutch East India Company resulted in vast quantities of decorated Chinese porcelain being brought to Europe, which stimulated and influenced the work of a wide variety of wares, notably Delft. The Chinese themselves adapted many specific vessel forms from the West, such as bottles with long spouts, and designed a range of decorative patterns especially for the European market.
6. The word "instigate" in the passage is closest in meaning to
○ improved
○ investigated
○ narrowed
○ caused
7. According to paragraph 4, one consequence of the trade of Chinese ceramics was
○ the transfer of a distinctive blue pigment from China to the Middle East
○ an immediate change from earthenware production to porcelain production in European countries
○ Chinese production of wares made for the European market
○ a decreased number of porcelain vessels available on the European market
Paragraph 5: Just as painted designs on Greek pots may seem today to be purely decorative,whereas in fact they were carefully and precisely worked out so that at the time, their meaning was clear, so it is with Chinese pots. To twentieth-century eyes, Chinese pottery may appear merely decorative, yet to the Chinese the form of each object and its adornment had meaning and significance. The dragon represented the emperor, and the phoenix, the empress; the pomegranate indicated fertility, and a pair of fish, happiness; mandarin ducks stood for wedded bliss; the pine tree, peach, and crane are emblems of long life; and fish leaping from waves indicated success in the civil service examinations. Only when European decorative themes were introduced did these meanings become obscured or even lost.
8. The word "whereas" in the passage is closest in meaning to
○ while
○ previously
○ surprisingly
○ because
9. In paragraph 5, the author compares the designs on Chinese pots to those on Greek pots in order to
○ emphasize that while Chinese pots were decorative, Greek pots were functional
○ argue that the designs on Chinese pots had specific meanings and were not just decorative
○ argue that twentieth-century scholars are better able to understand these designs than were ancient scholars
○ explain how scholars have identified the meaning of specific images on Chinese pots
10. Which of the following is mentioned in paragraph 5 as being symbolically represented on Chinese ceramics?
○ Chinese rulers
○ love of homeland
○ loyally to friends
○ success in trade
11. Paragraph 5 suggests which of the following about the decorations on Chinese pottery?
○ They had more importance for aristocrats than for ordinary citizens.
○ Their significance may have remained clear had the Chinese not come under foreign influence.
○ They contain some of the same images that appear on Greek pots
○ Their significance is now as clear to twentieth century observers as it was to the early Chinese.
Paragraph 6: From early times pots were used in both religious and secular contexts. The imperial court commissioned work and in the Yuan dynasty (A.D. 1279-1368) an imperial ceramic factory was established at Jingdezhen. Pots played an important part in some religious ceremonies. Long and often lyrical descriptions of the different types of ware exist that assist in classifying pots, although these sometimes confuse an already large and complicated picture.
12. The word "these" in the passage refers to
○ religious ceremonies
○ descriptions
○ types of ware
○ pots
Paragraph 4: Trade between the West and the settled and prosperous Chinese dynasties introduced new forms and different technologies. One of the most far-reaching examples is the impact of the fine ninth-century AD. Chinese porcelain wares imported into the Arab world. ■So admired were these pieces that they encouraged the development of earthenware made in imitation of porcelain and instigated research into the method of their manufacture. ■From the Middle East the Chinese acquired a blue pigment-a purified form of cobalt oxide unobtainable at that time in China-that contained only a low level of manganese. Cobalt ores found in China have a high manganese content, which produces a more muted blue-gray color. ■In the seventeenth century, the trading activities of the Dutch East India Company resulted in vast quantities of decorated Chinese porcelain being brought to Europe, which stimulated and influenced the work of a wide variety of wares, notably Delft. ■The Chinese themselves adapted many specific vessel forms from the West, such as bottles with long spouts, and designed a range of decorative patterns especially for the European market.
13. Look at the four squares [■]that indicate where the following sentence could be added to the passage.
Foreign trade was also responsible for certain innovations in coloring.
Where could the sentence best fit?
14.Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that not presented in the passage or are minor ideas in the passage. This question is worth 2 points.
Ceramics have been produced in China for a very long time.
●
●
●
Answer choices
○ The Chinese produced earthenware, stoneware, and porcelain pottery and they used their ceramics for a variety of utilitarian, architectural, and ceremonial purposes.
○ The shape and decoration of ceramics produced for religious use in China were influenced by Chinese ceramics produced for export.
○ As a result of trade relations, Chinese ceramic production changed and Chinese influenced the ceramics production of other countries.
○ Chinese burial ceramics have the longest and most varied history of production and were frequently decorated with written texts that help scholars date them.
○ Before China had contact with the West, the meaning of various designs used to decorate Chinese ceramics was well understood.
○ Ceramics made in imperial factories were used in both religious and non-religious contexts.
托福TPO10閱讀答案Part1
參考答案：
1. ○2
2. ○4
3. ○3
4. ○2
5. ○1
6. ○4
7. ○3
8.○1
9. ○2
10. ○1
11. ○2
12. ○2
13. ○2
14. The Chinese produced
As a result of trade
Before China had contact
托福TPO10閱讀翻譯Part1
參考翻譯：中國的陶瓷
盡管中國曾飽受入侵，偶爾喪失主權(quán)受制于外國，她仍然擁有世界上最源遠(yuǎn)流長的文明。像中國一個(gè)擁有悠久文明的大國，而陶瓷在其復(fù)雜的社會(huì)歷史以及視覺歷史中扮演了極為重要的角色。
在中國，每一個(gè)朝代陶瓷的功能和地位都是不同的，所以，根據(jù)它們的質(zhì)量和制作年代的不同，可以是實(shí)用器物、陪葬品、貿(mào)易收藏品，甚至是禮器。對于容器、瓦片等建筑材料、模仿的物體或人物，陶瓷廣義上被分為3大類：陶器、炻器和瓷器。另外，瓷器中還有很重要的一類就是宗教用途的雕塑，它們多數(shù)是陶質(zhì)的。
盡管最早的陶瓷是在制陶的溫度下燒制的，但是早在公元前15世紀(jì)，就已經(jīng)出現(xiàn)了上釉的高溫炻器。六朝時(shí)期(公元265-589年)，中國北方就有窯爐在燒制優(yōu)質(zhì)的高溫瓷器。從7世紀(jì)到10世紀(jì)，河北以及河南省產(chǎn)的白瓷逐漸演變成為享有盛名的宋瓷(公元960-1279年)--長久以來被認(rèn)為是中國陶瓷業(yè)歷史中的巔峰時(shí)期之一。宗教雕塑的傳統(tǒng)在大部分歷史時(shí)期中都有延續(xù)，但是沒有炻器和瓷器質(zhì)地的雕塑描繪的那么清晰，有一種古老的習(xí)俗，就是將刻著新的宗教形象和建筑裝飾的陶器作為陪葬品。瓷制品還包括漢朝的鉛釉隨葬陶俑，唐朝的三彩鉛釉器皿和人物，明朝的以泥釉凸紋展現(xiàn)輪廓的三彩寺廟裝飾物以及很多用來仿制貴重器皿的陪葬瓷器。
西方國家和繁榮穩(wěn)定的歷代中國朝代之間的貿(mào)易促使雙方互相引入了新的形式和不同的技術(shù)。有一個(gè)意義最為深遠(yuǎn)的例子，公元9世紀(jì)精美中國瓷器出口到阿拉伯世界，帶來巨大的影響。阿拉伯人對這些瓷器贊不絕口，于是他們鼓勵(lì)制陶來仿制瓷器，并激勵(lì)人們研究制作方法。中國人從中東獲得了一種藍(lán)色顏料--一種純化的氧化鈷，當(dāng)時(shí)在中國并未出現(xiàn)，其中只含有少量的錳。中國境內(nèi)發(fā)現(xiàn)的鈷礦石含有大量的會(huì)產(chǎn)生暗藍(lán)灰色的錳元素。17世紀(jì)，大量中國裝飾類瓷器通過荷蘭東印度公司的交易活動(dòng)流入歐洲，這刺激和影響了廣泛多樣的瓷器的生產(chǎn)，特別是代爾夫特 。中國人自己改良了很多種來自西方的特殊器皿，比如長嘴的瓶子，并專門為歐洲市場設(shè)計(jì)了一系列裝飾性圖案。
就像希臘的陶器上所繪的圖案，今天看來也許純粹是為了裝飾，然而事實(shí)上在當(dāng)時(shí)它們都是人們精心燒制而成的，它們的意義在當(dāng)時(shí)非常明確，中國的瓷器也是如此。以20世紀(jì)的眼光來看，中國制造的陶瓷也許僅僅是裝飾品，但是對于中國人來說每個(gè)物件的形狀及它的裝飾都有寓意非凡，影響深遠(yuǎn)。龍代表皇帝，鳳代表皇后;石榴意味著多子，雙魚意味著幸福;鴛鴦寓意著婚姻幸福美滿;松樹、桃樹以及鶴都是長壽的象征;魚躍出水面意味著科舉考試會(huì)高中。但是歐洲的裝飾主題被引進(jìn)后，這些寓意就變得不再那么流行甚至丟失了。
陶瓷器皿在很早期就已用于宗教和日常生活中。朝廷分派了制作工作，并于元朝(公元1279-1368年)在景德鎮(zhèn)設(shè)立了一座官窯。陶瓷器皿在一些宗教儀式上也有著重要的地位?，F(xiàn)存的關(guān)于不同類型的陶瓷器具很多長篇且抒情的描述可以幫助我們對其進(jìn)行分類，盡管這些描述有時(shí)候會(huì)使得一幅大而復(fù)雜的畫面顯得凌亂。
代爾夫特陶器(荷蘭產(chǎn),通常是青色、白色)
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